LIBRARY Michigan State University l (Inf-(t: Ill-Jr .3173; I’d 'l .--.‘;/' i, lf'l-I H i i I. N" i 13:1,! 'Ilr ‘3'".1-‘1'3/ I i f H ~ f‘x .. I a; '1?! ft i-H‘CI’J M :gu r ' v :1) \,.-' x. .1 I" I I H173} (l x " . I l, MECF‘IG " ‘2’ 97733 LPFJi“""--"f.‘~‘.TV "LLLEGE {,5 HUMAN £115.; REFERENCE LIBRARY 34W PLACE IN RETURN BOX to remove this checkout from your record. TO AVOID FINES return on or before date due. MAY BE RECALLED with earlier due date if requested. DATE DUE DATE DUE DATE DUE 6/01 c:/CIHCIDateDue.p65—p. 15 AWSMO’AWGMWWMQMB nmcmnmmm by Patch.”- A non “find ‘0 “can mu “1de hWWtotth-W :0:de mutant: W«WI.WNMNMO 1970 1W ACKNOWWTS Ihe writer would like to eclmewledge her original greduete couritteet Dr. Mary Gephert Donnell, Depert-ent Cheirnen; Dr. Elinor lugent end Dr. fiery L. Shipley. She would else like to expo-en her gretitude for the velued euggeetiene given to the etudy by the present committee: Dr. Robert R. Rice, Depertnent Cheirnen; the. Hery L. Shipley end Dr. Gertrude Nygren. The writer would expreeely like to then! I». Her: L. Shipley for her inspiration, zuidence end eeeietenoe in oonducting thie study. Mr. W.D. Frankfurter end hie eteft et the Grend Repide Public Hueem deserve nore then gretitude for their kindneesee. Speciel lention should be given to flies Geide Zirnie for her cooperetien end eeeietenee. The donors vere very greeieue in giving of their tine to enewer queetione on the quilte. Chapter I. V. TABLE OF CONTENTS Page INTRODUCTIONeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee 1 Stetenent of the Problem Importenoe of the Study Definition of fer-e REVIEW OF m WWOOOOOOOOOO...0.0.0.0...0.0.0.... 5 Types of Onilte Design Sources Fabrication Assembling Quilts etter 1870 mmmr...‘I.OOOOOOOOOOOOOQOOO'OOOOOOCOO...O. 00...... 23 Descriptive Anelysie with Visual Investigation Museum informetion Donor information SELECTED PIECED>QUILT3 II THE‘GRLHD mm mmn.OOOOOOOOOOOOOOOOOOOOOOO..0000...I.0...... 25 History Top Construction CRITERIA FOR DETERMINE MUSEUM gm QmTSOOOOOOOOOOOIOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO 8" swam “D mmmNSOOIOOOO...0.0.0.000....00.... W Chapter Pegs m. BmImRAMOOOUOOOOOOOOOOCOOOOOOOOOOOOOOOOOOOOOOIOOOIOO 91 APPHIDIX A. Information in the donor's book Grand Rapids Public nusomOOOOOOOOOO0000.00.00.00eee 97 APPENDIX B. Sample letter of inquiry to donors of quluo...OOOOOCIOOOOOOOOOOOOO0.0.0.000... 100 APPENDIX C. Sample of form used to study qtfilts................. 102 APPENDIX D. Sample of letter sent to nuseus.................... 106 APPBTDIX E. Letters of reply from nueeums....................... 108 iv E ....?§Fr afiemufiaat LIST OF PLATES Birds in the Air......................................... Hit end.hiss 1........................................... Hit end Miss II.......................................... Log Cabin.Verietion...................................... Log Cabin Courthouse Steps............................... Civil war Quilt.......................................... Nine Patch Verietion..................................... Le Moyne Stsr............................................ Harvest Sun.............................................. variable Star............................................ Blocks or Cube Hbrk...................................... windmill end Whirligig................................... Double honksy wrench or Churn Desh....................... a‘m Bask.t........IOIIOOOOOOOOOOOOOCOIOOOOOOOOOOOOOOOO Page 29 33 37 bl #5 #9 53 58 62 67 75 79 33 CWTER I DETRODD’CTION Win-sum Quilts have often been "telnen for granted“. new people oen umber their Grandmothers having quiltim bees, but nest of today's college age generationheveonlyevegueooneeptoftheworkmiohuent into the production of e well designed quilt. Today there are few areas there quilting is still a eel-unity interest. it the present it is booming another lost phase of “Americans". Intheboginning ofqdltnskinginthis oountryitues for utilitarian purposes and was en eoonoeie messit'. However. this craft did provide the colonial housed.“ with e creative outlet. Today quilts are regarded as part of America's folk art heritage. Occasionally there is e revival of interest in quit asking. In l9l$theremoneenddwingthedepressienyeersuonennedequiltsesit useninexpendvehobby. Duringthepestyeerthereheeheonenother mm of interest in quilts mum designers of high fashion clothing to interior design. Usually the quilt revivals result in en improvisation of an old quilt pattern. thereto" it is important that the original quilt patterns be recorded in order that there sign. be an appreciation of the origin of this oraft. IMPORTANCE 01" ms STUD! Quilts are considered part of herica's folk art. Many lusouns have received donations of quilts from people in the community. In nest instances the donors seemed that people know about quilts and did not include valuable intonation about the quilts. is few quilts were signed or dated, it is important that the information be recorded while people are still available to answer questions. the names of sons of the patterns represent a true history of the developnent of the United States. Quilts are qtdte often so cal-nonplace that few think of then as being a valuable legacy. It is hoped w focusing attention on this folk art that an appreciation of the quilts which are in moms and private collections will result. Also that sons of the history of the quilts idll be recorded. Ageless: film W IEFINITION OF MES ”Laying a anallor patch of cloth on a larger and then heating or felling down. The back of the quilt, usually two widths of fabric sewed together to make it the some siso as the top. Usually a layer of cotton between the tap and back, but other materials were used such as wool or even con huske. Finishing of raw edges of a completed quilt. "i ”52"“ col-posed of patches. either pieced or appli. qued. "ibend surrounding thequiltproperligatbeofplain natorial or itself pieced or appliqued'. “Spread used on top of a bedstead'.“ Fabrics sewn together without regard for design or uni- fonita of shape. Usually of velvots. satins and ribbons. “To trace on the top the design to be quilted”.5 ”To felldcwnaenallrpdeceofclothonahrgor, that is to applique”. 'Tojoin Ioansofasewod seen, oftonconfusodvdth ‘0 patch”. "Single piece of cloth Joined to make a pattern".8 Pieces of fabric seen together to for: a planned pattern. 1. Ruthi 2. MENU 3. m1“. . u.” L _. L'. _-.t. hue—02. (Vomit, New Jersey: 1'". , p, 10. 3. Finlay. We. Do "2. b. Whit-0o Wis- P- 10- 5. mid- 6' m1”, W, p0 hes 7e mas 8o mas 3 Put% In Quilt was Quilting {Eggs Elli-as can Set Together la. Same as a patchwork quilt. "The set of fastening to the quilting fro-es the edges of 1 the back and top between which the fill is evenly spread.“ For the purposes of this paper noans three layers" top, fill and backing which are usually held together by a running stitch. “Is m in design with a running stitch through the top, 1111 and back.“2 werousuallyhcuenade. . . . Thofourstripsof woodwore crdinarilyabout aninchthick twote four inches wide and some ten to twelve feet in length. Along the edges of these wooden strips an inch width of very heavy cloth such as tick- ing was securely tacked. To this the edge of the quilt were pinned or sonotinos bested. “noanttoturnthetwoondfraeesovorandovor, thus winding up the quilted partions so that the unquilted parts could be reached.“ Toearkthelinesforthoqulting,astriu thick with starch or chalk, was fastened across the quilt at the desired angle, and who it was perfectly taunt, it was given a good snap which made it spring d onto the eatorial and leave its Iark. ”The naterial as wolléas the method used for setting the blocks together.’I Removing the stitched quilt fron the run-.7 "Completed ”We“. not. and hordes-”8 1. white, flowerk Quiltg, p. 11. 2. Finley, Patchwork 9&2, p. #2. Be Me. Po “3. no Ibido 5. Grand Rapids Public hueoun, "Patchwork Quilts", leaflet. 6. Finley, gamwork 93133;, p. be. 7. Write, Nemrk gm”. p. ll. 8. Finley, Patchwork 931;“, p. ‘62. CHAPTKRII REVIEWOPEBIITERATURE Culting is quite old as it is said that the ancient Chinese used quilted sloth u make padded m cloning} M in nu: saturioe evidence has been found that nu used qtfilted cloth under their anor as protection. DuringhonryVIII's tinethefinest spesinensofneodloworkms a combination of embroidery and patchwork.2 In 1708 the first sample ofhglish patchwerkis foundinLeveneEallnearKendelCeuntyof West-orland. The pieces are imported Indian prints quilted with red thread in a diamond pattern) Quilteaewothinkefthentodeymefirsteensidorodia Englandaspartefeetsoalled'bodflrnituro'. Asetwaseeepoeodef: a quilt, bod curtains, cane]; and dust ruffles. During colonial days in this sentry patchwork and plain quilts wereinsuehgoneraleeethatthsyworenetlutiened. Thebestsouree ofinfcraationabouttheeiefroebillsefaaloandauouoeilvonterios. 1. Delores i. Dineon, W (lee Yorke Hearthside P”... 1%6’. pa 13o 2.14“» D. "sham, «1:- - (low fork: Tudor Publidiing Ce., 3. ivsril Golly, W (lee Isa-kt Charles Seribner 3.”. 1965)! p010 0 6 The b.1311: of quilt naking was free 1830 to 1370.1 ”more is no country in the world where quilting was of such great ilportence as America.“ The fact that we received inspiration from our Dutch and English ancestors has been cited in new works. Usually quilts are classified under our folk art. However, it is interesting to note that in a current handbook on antiques, quilts are listed under 'Prinitivos”. Many of the Michigan patterns say have stmed fron Dew York and New bugland as nany of the early Michigan settlers case by way of the Ohio River fm those states. hthebcgimingnnngaquiltusanecessityasthofanily needed the quilts for warnth in the cold winters. Then, as tines bosses better, quilting became none of a hobby and nore elaborate designs u... used. In the twentieth century nost of the when the quilt do so as a hobby or for decoration in their homes. Quilting in this century has also been used as therapy for the sentally and physically handicapped.“ Inthoearlytinesthoquilttopswerousuallyladeinthewintor and the quilts were quilted in the warmer weather as the quilting fro-es required eight feet and heating that space was a lintury.’ 1- ”1110!. W P. 31. 2. Mary Synonds and Luisa Preeoe ll (London: Hoddor and Stoughtcn Ltd. , 1928‘, p. 313. 3. m Kilborn Colo Wm (Dew forks Golden Press, 1937 , p. 9. h. This was one of the prise reasons for Dr. Willie- nulten Jr. publishing W (Cetensville, Maryland: by the author, 1914-6). 5. Hinsona W21- 9. 11‘0- 7 W There were nunercus quilt types. Among the memory type were ”Friendship Medley“ whereby a bleak was soapleted by a friend. his is diHerent from a ”Friendship Quilt" which is a quilt conpesed of scraps ofnaterhltronai‘riend. butthemc ofthe quilt was theonesho node the quilt block."l A popular idea for a party was to give a surprise party to nake a “Friendship Modlsy" quilt. This required the receiver to give a quilting party in return to quilt the up} anthc typed "Menoryquilt' was enenadehuthepieces of naterial from the dresses of the deceased.3 i'tanily“ quiltusuallyteekalngtlne as eachbleckhada picture which was dated and signed by its usher. Quite eften this quilt had a large block in the eenter on which the honestead was unaligned.“ me “FreedonQfllflwasgivenbthesonenhistth-first urthdeyasuptothatuneheowedhistinetehisparents. Onhis tunnty-tirstbirthdayhewasfreetedohtheunted. lbesewere seldo- nade after 1825.5 Aqultflchwaspopuleri‘erevertwohmdredyearsmthe Me's quilt. It was said that a girl had te wait .til she was mgagedtestartanarriageerbride‘squilt. Onthisdreoouldthen 1. P1180111! Saw'er Lords and M01 J. Feley, o W (mm-as Chilton sucks. 1 5 . p. 129. 2e We W D. 192e 3e ma.’ p0 193e b. Rose mdeo' Lane. - (New Iorlu Simon and Sohuster, ‘ , p. ' 5. Finlm 2.9mm p. 192- 8 sew devos, loveknets and hearts. By this tile nest of the girls had twelve quilt tops assembled. Patchwork Quilts Patchwork was originally intended for economy as it was a good weyte utiliseallthe frag-ents andbdts ofnaterials. menthie sentry was first settled every bit of cloth was valuable as it either had up. woven by us. housewife or imported. It has been said um. patchwork is a “thrifty use of leisure tine'l. as it can be used as "pick up work'.‘ In the beginning it was called “poornan's embroidery'e. nm in the late eighteenth and early nineteenth centuries moon of all socialstandingeewedpatchwork. Quiltingwas eonethingwhichwent truthe oottagetethenanor. Eventhough it was knowiniurepe Dunton says: ”I an of the opinion it is distinctly an American art". The early American settlers cabined the separate arts of patch- work and quilting. Before 1750 not such is known but tron 1750 to 1850 nawpiecedquilte areknowntohavebeenlade. Lane says: "henyou knew patchwork patterns you know all I-eriean history'“. Patchwork is also a good record of the dress and household furnishing materials of the tiles as it is directly influnced by changes in taste of fashion. Finley nentiens that a scrapbag was hug on the backofadoorandthetthescrapbagusacoabdnstienefoldendnew. l. Elisabeth Hells Robertson, inerican Quilts, (New York: The Studie Publications Inc., 19108), p. 28. 2. Colby. 22W 9. 11. 3. Danton. Ms: M. 5. Lana. W P. 78- 9 his is the reason that one cannot accurately date a quilt from the fabrics as the old was often combined with the new in quilts} Lane says ”that true patchwork is designed, it has meaning in every nwz. Host peeple do not start to design until they have .11 their scraps of material. me more creative take a pattern and impro- vise upon lt to make it represent their personal interests. Patchwork is as varied as the personalities who made it. The pieces in a pieced quilt are often in the thousands. more is a record of one quilt having over thirty thousand pieces which are one-fourth inch by three-fourths inches in sine.3 lhe ”crazy" quilt is another fora of pieced quilt. It was usually made free odds and ends of ribbons, satins, velvets and silks. Senetines centennial ribbons or other dated ribbons were included in this quilt. A suggestion was made in the literature that this night he awayefdatingaquilt; buteftentheseribbonswu'esevedandlater incorporated into the quilt; therefere, this is not an acorn-ate method of dating a quilt. The fabrics and ribbons were sewed together and feather stitching was then employed on top of the scan as this was a characteristic of the ”crazy” quilt.“ meenepatchquiltswerendeefpieeeseutintomfen siseand shape, but were put together withefl regard for color and nterial. The 1. We MW:- P- 163. 2. Lane, ”Patchwork“, W. (April, 1961). p. 36. 3. Carrie 1. Hall and Rose 6. Iretsinger, c P‘ . (C‘ldwn. W, Th. Cubn mur. Ltde’ 1935 . p0 150 h. Lord and Foley, Folk Arts, p. 132. 10 “Hit and Miss“ quilt pattern is an example. lext the quilter sorted the colorsandarrangedtheeinrowsandthe “matripo' patter-developed. A third one patch pattern was called the "Briokwall'. his was a rectan- gular one piece quilt with a checkerboard postal-no.1 The but of the one patch patterns was the "Honeycub'. This was nade ef hexagon patches sewed togetherand no atteept was nade to arrange the color or patterns. l'hetwopatchpatternfellewed. lhiswasasquaroerrootengh out diagonally in half. Pattern ere-pies would be: “free Everlasting”, and "Bird in the Air”. Perhaps the latter is the original ”Flock of Geese“ pattern.2 "Renae Square“ is an maple of one of the soot popular of the throepatchdosigns. Inthis patteraeachbleckwaseadefrathroo different oblong patches. I'l'he blocks were set together with cross bars of solid cola-"3. Another three patch design was achieved by "cutting lightenddarksquarosdiagonallyfreathocenterofonesideteoaeh Opposite eorner and then setting light and dark together”. “Streak O'Lightning', “Zig lag“ and "Rail“ are sons of the three patch pattern naeos. host of the references referred to the fact that goenetry ens definitely involved is designing pieced quilts. Finley stated that ninety-nine poreent of all the pissed quilts represuted plane gently andthatnerethenhalfeftheoewereefthofourandninopatchveriety.5 1- 30W. W p. 51. 2. Hal-r. mm.» P. 50- 3. M. “. Md. 5. Md. ll W1 refers to the kaleidoscope of patchwork. his book also agrees with Hati- that there are three shapes used in patchwork: squares, triangles and dim-ends. Holi- alse adds 2 Examples of a square pattern would be: "Puss In a Corner” and "Double Irish Chain“. he triangle could have an appliqued handle and stripes. the triangles pieced to fore a cahostand, grape, cherry or flower basket.3 fhodiancndwas needinlowflnglsndfor ”best quilts”whioheaybo the reason in large collections of quilts one finds acre dianond quilts than I haplesefadialondpettornweuldbothofiily“, “Tulip" and ”Sunflower“. the square. Appliquod Quilts ippliqueis eaidtoboa signofbottorocnonie conditions“ it is eero luxurious to use scraps on top of eaterial.5 these were also considered the better quilts which perhaps is the reason, again, that Dre ofthosoareavailabletodayasthosewerothoonossavodtobopassod down in the family. lanesaysthatpiecedandappliquooanoonpleeenteaohothcin thesanequilt. Shoflnotwomnplescfmocodtlionglestithappli- quod flowers and a pieced outburst outer with e "Priuo's Feather“ (low forks Hearthside Press Inc... JL"“..‘ . A.“ .. . l. I;- 1%3). Fe 381s 3. loner. hoeg “Quilts andinericenl‘olkirt" (m, Harsh, 1931»). p. 18. ' ' b. um. W p. 57- 5. V.” P. Guild, (Gm Ciw. I." 10*: Doubledayandceapany, 1959 e P. 17 . 12 appliqued.1 Some quilts also had one block pieced and the other block appliqued,2 alternating throughout the quilt. The colonial women called appliquod quilts Brodege Perse, Persian enbroidory, after the Indian palanpores which were forbidden to be imported.3 In the eighteenth century the motifs were out from mglish chints and the elegant French toiles. By 1850 they used the fabrics in shapes other than those suggested by tho prints.“ Applique patterns were also drawn from nature and represented the following: Rose, Tulip, Peony, Lily, Sunflower, Oak leaf and some original flower patterns. Embroidery stitches were sonotines used to highlight the applique. The stitches cosmonly used were: hurling, blind and buttonhelo. me newest of all American appliquod quilts are from Hawaii. is one would expect these quilts are truly representative of the Island in that they have the strong colors and the designs characteristic of the area. The designs are highly stylised forns of the Island's flowers and foliage,AnerioanQuilting hasconoalongwsyfronthoeoonouioal pieced work, as the anaiian quilts in nest instances notes eaterial. mite Quilts ”Quilting particularly as used in all white desimng, became 1. Lane, Nona}?! 3! 22k, 1). 101. 2. misaboth Hells Robertson, "Modern Old-Its“, m. (Decenber, 19315), p. “5. 3. Lane, Homag’g $1 Book, p. 93. ‘h Warm. (New lurk! Rando- Home. 196“). pe 123s 13 a high form of applied art in the eighteenth century".1 Many of the all white quilts had a large center medallion with a series of borders around it. The center medallion was of an urn or basket of flowers with an elaborate border of “Princess Feathers”. Design Sources One of the early design som'oes was the dowsr chest as the patterns on then could easily be copied. Dish decorations also pro. vided a good source of inspiration. At a later date magazines provided designs. Patchwork utilised patterns fron other crafts as it was said that the traveling weavers who nade the double woven coverlets inspired tho "Irish Chain” and 'ihoel of Fortune" quilt paw-no.2 Other quilt patterns are nodifioations of fundamental patterns so nusercus that it is impossible to record every variation.3 They probably all originated with basket weaving patterns.“ “Patterns that were passed from Mother to daughter. . . o are truly our American folk art . . . , a traditional design plus a little personality”.5 l. Georgian Bren Barboson, W. (New Ierk: Bonanza Books, 1933). p. 36. 2. Then“ 3. Grub-0o W. (In I»!!! 1h- HcBride Company, 1957), p. 116. 3. Finley. We 19. 7. 10. 1r. Mary L. Shiploy, office, home Boone-ice Buildim, Michigan State University, February 18, 1970. 5. Robertson, 'Hodorn Quilts", p. 13. 1h Quilt lanes Quilt names of American patchwork can be a record of days gone by as this was a craft which was made exclusively in the home for two oenttu'ies. Mary of the designs have symbolic neaningm” "As sith othu' fem of folk art they reflected the political, social and economic affairs of their time".2 more is no mistaking: "Wig Rose”, “1311: Madison Star”, ”Fifty-four Forty or Fight”, "Kansas troubles", "Ihdergromd Rail- road” and ”Trail of the Covered Wagon”. MtswerealsenaledfrI-tbetredesandoeeupatim. ”The Ships heel” or “Mariners heel", ”The Dusty Miller” and 'Barrister's Blocks“ are a few examples. It seenedasthougheaohtineemstatewesadlittedtethe mien mp1. designed a new star pattern ts Mate u.’ For mph! ”lone Star“, "Texas Star" and ”California Star”. Religious nanes were also used such as: "Joseph's Cost", “Rose of Sharon“ and “Star of Bethelesl". Othernmesandideasweretahnfruflowergardensandreorea- tional activities such as ”Suing in the Comer", ”Climbing Rose“, "light Hands Round", "Horse Shoe" and"Ranbling Rose”. There were others to co-uorate historical events, others specific for the geographical areas. “North Carolin Lily”, "Mon Quilt“ and 'Iankee Pride” are samples. 1- “1110?: W P- 3- 20 01313139.. W! P0 119. 3. Dorothy Mshtbfll. 92W (PM York: Bomsa Books), p. 73. 15 Early quilts have the sane pattern but different names. For exanplex a quilt node with two tones one of which is very dark and the other very light was called "Jacob's Ladder". This same pattern made with three colors is called "Stepping Stones”.1 Finley has a very good ”rule of thmb“: "The first rule for a quilt collector is never dispute a name".2 Border Ettorns Border patterns are usually in every design soccept the "Log Cabin", "Crazy Quilt“ and the striped quilts. lbs border pattern should be part of the overall design; however, sons quilts are found which appear that the border was added after the quilt was assembled in order to lake the quilt larger and the border does not couple-lent the top design. Webster feels that colors in the bordor should harnoniso with the top.3 Simturo In signing and datim a quilt Colby“ says that the correct place is the center panel or on the border pattern with the day, month, year of finishing and the full nane cf the worker. Colgg The early American quilt colors were usually dark red, dark blue, dark green, dark brown, black and dark gray. “nae woe which were made in the colonies were orange, yellow, green, blue and butternut broom. 1. Finley, Patchwork Quilts, p. 7. 2o me. Do 97 3. "“35“,. 92.11.19,: Po 93. h, col-by! M0 Po 29- 16 In 1830 quilts of red, green and white were pepular. In 1880 Turkey red was imported from Gornny and then quilts were made solid red and solid white. Manganese brom was produced commercially in the United States in 1825. For the next twenty-five years it was a popular color in silks and calicoos.1 his eight explain some of the predominance of brown in the early quilts. Some quilts were made of typical colors. A "lhumkard's Path" usually was of light blue and white. he "m0“ was always green and white "Jacob's Ladder” usually was of any blue and white but most often was navy and white. Patterns of a "Bear Track" were of red one white.2 In the 1850's lavendar and grays were used. During the Civil War dark flower prints were popular. Knowing when colors were used is another way quilts can be given an approxinte date, but this is not an entirely accurate method of dating. Eaprioation Fabrics Pure cotton or linen was best for all quilt patterns. Bleached or unbleached calico was used as the background material for applied work and as a using for all the quilts} When the Indian calicoes were forbidden to be imported what calico could be smuggled into this oomtry was often used down to the last scrap. Pictorial prints consecrating scenes in Alerioan history were printed 1. White, limo-g 92g“, p. 38. 2. Kimono W p. 137- 3- Guild. 124.129.33- p. 22. 17 in hgland for the American narket free 1800. the nest semen fabrics used in quilts were: plain and figured calicoes, chanbray, ehints, cretonne, gingham, longcloth, suslin, nainsook, and percale. In the latter part of the eighteenth century one usually thinks of silks, satins and velvet being used in the "crazy" quilts. 1 Mains Coverlets with applied work usually were unlined. Light weight cottons or used sheets were nest co-only used as linings on quilts. Foundatig The foundation was usually of unbleached calico. £i_ll__ ll'hefillonAnericanquiltseay’heoneusyofdeteminingthe age. The very early ones were filled with leaves, feathers and oven corn husks. rhooo were usually held together by string which was tied." ‘Ifcottonbattingworousodandoeedscanbesoenthoquiltnight have been made before 1790 which is around the tine the cotton gin was invented. However, a good mamP Southern quilts made before this date do nothaveseedsas theyhadtheirslavesoardorfiokouttheeoods. Sometimes fleece was used when cotton wasn't available, ht this was as the last resort as it was quite undesirable due to the fact thatitwas difficulttoeonpletelynshoettheanilaloils. “the quilts were were an odor was prevalent.“1 1. nan-u. W p. 23. 2. one. W p. 13". 18 Several cotton sheets could be used if warmth were desired and these would have to be tied or knotted.1 ize In the eighteenth century the quilts were usually nine to twelve feet as they were used on the high beds to cover the stack of 2 According to Hall and Krotsingen3 the fin. feather beds and pillows. ished quilts were quite often one hundred and eight square feet. There. fore, with today's quilt revival the old quilts can be used on the king sized beds. After 1812 the three-quarters bed was popular and this produced quilts which are an odd size for today's beds as these quilts are too narrow for the double and king sized beds and too wide for the twin.“ Assembling Sometinesboththetopandlininghadtheedges turnedunder and were bound together with matching or contrasting band. Occasion- ally fringe was added to this. Other tines eactra naterial was allowed on the backing and this turned over the top for finishing.5 Author nethod was to cut bias strips double the desired finished width and fold to root in the center. 'this 1. "Chat”. Mg. Po 11.0. 2. (New York: 3. Hall and Kretsingor, W. P. 16. '5. Finlay. W p. 26. 5. Home 1'. hcag ”Lets Make a Quilt“ Dem, (Deouber 1933). p. 2n. ' ' ' l9 bias strip was then stitched to the quilt top and whipped stitched to the back} Another way to hold the top and bottom layer together without quiltingwastotieyarnorstring. melayers couldalsobejoined without quilting by running stitches around the patches or sections. Quiltins Quilting designs could be divided into geometric patterns: the square, diamond and diagonal lines, and the circle which includes the shell, fan, and rope.2 hose usually muld be background stitch”. The open spaces in the block or more would have the block type designs such as the "Feather Wreath“, the “Clan fluoll", the "Wool of Fortune", the ”Pineapple” and the "Weeping allow”. ihere was also the running type design such as the ”Inning Vine“, "Princess Feather“, ”Serpent” and the "Ocean Wave”. Other designs used are! cornucopia, harps, pinemplos, stars, peacock fans, oak leaves, birds, starfifi, spider web, rosettes and Dove of Peace to use a few. herewero several-etude ofnrkiuthequilting pattern. If it were Just a straight line these could be drawn Iv various devices. Onemsthorulorandtheotherwaseallod'snappingthechalk". Quilting pattoresoeuldbotraceduwrapping paporandthutho paper machine stitched with the needle mthreaded over the pattern lines. Powdererovengroundcimunceuldbo sprinkledthroughtheperfera- ;I~ eP- 1 "i Compaq 2. mam. W p. 26. l. Phoebe Edwards, 52-- 2 a (Cincinnati, Ohio: Steams and Foster 20 Charccalwasalooueedtelarktbepattenfcrquiltingoz Peoplevaryintheiropiaienastewhetherteeseadorterlm needletequilt,butthesiseso.stebeaaeighterlnneneedlo. s-hor mnmuuwmuowm. mm“ usedoedsrkeettons. One-eeldqsiltsabaekstitchorehainsfltd isfeud. Pooh-pouaoaohooouooaoanghhduoqommuoohooh onus? mmvumwwumqmmnnom stitch. ‘ hedodgniswerhedoathetopbetgeesthreughthethreolayers (top,fillingandbaek)eothatitnaboapattenislewroliefon thebaek. tiara} W Althelghthiepaperisdevetedntirolytotheqsilto,I-tien shouldbeudeabeettheoldfa‘ienedquiltiuboe. AsOarlisleoqst 'IeuMemtes-partiaosrlifetedqthateefldecpareufithe omuuhuonhooaooaooouooew.‘ Asuaaquiteeftenoajeyeda stateeiehero-eaitywhershilludththeaeedle. Itwasadsfiaite socialessettebekeenasaneupertqulterassee'eeeeialpeeeia-oo ”scored. 1‘ 1. Whoa. 2. moo-.mmopdv. 3. ”amp-‘- *. Lin- Duh-r can-1n. W (lhelbu-ae, Vac-eats 1957), p. iii. 21 Quilts After 1§ZO Decline There was a decline in home quilting after 1870. Part of the reason was that machinery produced goods reduced the need for bone nade items. People also had the income with which to purchase the new machine made merchandise. Women were able to attend college and to work outside the home. This obviously reduced the time with which they could make things at home. The rise of the garnent industry was also said to have reduced the family scrapbag and thus quilt making. Centralized heating lessened the need for quilts for ninth. State Fair Competition Even though quilt making was not popular nationwide, some wonen were still encouraged to make quilts in order to enter them in the County Fair. This was chiefly as a creative outlet. In various nuseun collections mention is often made that a quilt wot a ribbon in a fair competition. Current Vogue of Quilts For several years Sister Parrish (Mrs. Henry Parrish) has used quilts to decorate the bones of her famous clients. She usually uses old patterns in current fashionable colors. host of her quilting is done ty women who live in rural Alabama} The geometric patterns of the old quilts certainly can coordinate oath today's decor. 1. Eugenia Sheppard, “The Quilting Bee of Sister Parrish", mm.3 mar an. (EON 16, 1968), p. 8. 22 It is interesting to note that Europeans are using our quilts to decorate their homes. In publisher Francois Hebert Steven's library outside Paris on American patchwork quilt was used as a table coverl and in their child's roan an Enpire bed was covered with a “pretty American patchwork quilt".2 Mr. David Hicks in his own English homo- house used an American patchwork quilt in his Idfo's bedroom? Inomontoruclouwmionodumudtom who made patchwork quilts by custom order. The reply stated that a place in North Carolina considered quilung a museum art and made quilts. There is also a current revival of old quilts and old quilt patterns in fashion. It all ”started in Paris with Ives and Mark and their patchwork peasant outfits".5 Then by June of that year, 3999:; Wear lily predicted that by fall of 1969 quilting would be a big busimssitenandthatanthebigdodgnmneswmldboudngit. The article March 25. 1969‘5 said that all the fashion people (01m. Vanderbilt Cooper, Barbara Hutton, Jackie Onassis) were having Adolfo make than quilted clothes. Gloria Cooper bought twenty-five old qmlts from a low Iork antique show. Some she very interestingly placed aromd her New Iork home (as a dressing table cover and as a dinner table cloth). But a few she had cut up to make into long hostess dresses 1. Georges and Rosamond Bernior, Editors The Begs Ll Emgan agoratiog. (New York: Reynal and Compaq, 19633, p. 1. 2. Ibid., p. 60. 3. Ibid., p. 20. 1}. Epsie Kinard, ”House Beautiful's Address Book", House We (80mm. 1969)o p. “6. 5- W (Farah 28. 1969). p. 5. 6. man. “33 . (rm 25. 1%9). pa 5o CHAPTERIII monomx In order to study the quilts of the Grand Rapids Museum the writer first consulted the donor's book and eliminated from the study the quilts which were donated by people who are deceased or those quilts which stated that they were donated fro! the estate of a person as it was hoped that the donor would be able to contribute information about the quilt. The writer later obtained pea-dosion from the Musem Director to contact the cbnors. I The quilts were located in three locked cases. As each quilt was removed from the case, the exact location in the case was noted. The quilt was then unwrapped to be examined for the information which will be covered in Chapter IV. An attempt was made to identify the quilt pattern by using such references as: Hall and mm} Molina Finley.) and canon." In some instances the change in fabrics made the pattern look different from the references. ihe writer was aided in identification of two quilt patterns by reviewing slides which had been torch for such purposes. 1. Hall and Kretsinger, W. 2. McKin, Ethwoz-g Egttorng. 3.7 Finley. W- it. Carlislo, W. 23 2h The stitches were counted with a ruler and five to ten measure- ments taken. On one quilt where the stitching was fine, a magnifying glass aided in establishing whether it was hand or machine stitching. The magnifying glass was also utilized in an attempt to determine whether the patterns had been drawn on for quilting. Having a pmtyped form was much faster than having a list of points to be noted. A sample of the final for: is to be found in Appendix '0". Several procedures were tried for takirg the pictures. In review— ing the literature it was fond that quilts were photographed in new instances hanging on clothes lines and the background was clearly visible. therefore, this writer used skirt hangers to hang the quilts on a storage cabinet in order to have Just the quilt pattem photographed. One quilt was too frayed to hang and its picture was taken with the quilt draped over a table. Lighting was a particular problem. The flash bleached the detail work of the stitching. If it were desirable to record the fine details of quilting one would need a camera adth a special attachment. The writer felt that a personal contact was worthwhile in con- tacting the donors. However, as one would expect at least two phone calls were needed. The donors needed sme tine to "recollect” their thoughts about the quilt. he of the donors could not be reached by phone so a letter was sent. Four were not listed in the current phone book and letters were sent to their last known address with quesuons and a self addressed stamped envelope. CHAPTER IV SELETED PIECE!) QUILTS IN TEE GRAND RAPIIB PUBLIC MUSE!“ The Grand Rapids Public Mucous has a very attractive and in- formative display of quilts. 'lhe nuseue staff has arranged the ecdaibit so that they explain the various shapes efnterialand the type of equipment which was used to construct a quilt. more is a representation of each of the nest kmwn types of quilts: pieced, ”only“ (this is also a pieced) and applique. Mrs. Arthur Vandenberg donated a I'crasy quilt" vhich is of interest to that community's patrons. The calamity still has an interest in making quilts as quilt patternsareavailableinthesusmgift shop. Frontierdays andthe children's craft workshop alse create an interest in quilts. The bulk of the collection is stored in three cases in the work- shop area. 'mere are approxilstely forty-five quilts in this area of which nineteen are pieced, ten are "crew". two are white, four appliqued and one is embroidered. "Crasy' quilts are really considered a pieced quilt, but in this paper, the writer preferred to place the- in a group by thanselves. 25 BIRMINEEAIR A. HIS'IOR'!‘ 9213‘ Pattern Finley'sl ”Birds in u» an" identifies this pattern. It has also been called ‘leing Birds”. Finley goes on to say that this is the original "Flock of Geese“ pattern. men one «spares this with McCallsZ mm in the Air", the evolution of this pattern is evident. In looking at e further development at this pattern in Hall and Kretsing their "Flock of Geese" pattern and their "Birds in the Air”5 patterns enly vaguely reselnble the original. Lem: Mrs. Edward J. Sheridan m5 8‘18 3.3. Grand Rapids. MM“ May 7s 1962 81“ We; a Information was not available. W Information was not available. WM Information was not available. 1. Finlay. W phto 16. 2. Means. Wham. p. 20. 3. Hall and bet-finger. W. a. ma. p. 7a, #9. 5. me. p. 96. m. 26 A. EIQIQR! (cont.1 Location of Congtzggtion Information was not available. B. TOP Over all measurement: sixtybfour'inches by sixtybtwo and three-fourths inches. Degign Twentyatwo squares across and twentyatwo down. Approximate sine of squares are two and three-fourths inches square. Two triangles forn.the squares. and the tops of the triangles are arranged as that they for- rows ef diagonal lines across the quilt top. Looks as if hand sewing were employed. Some silks were frayed.whieh allowed the writer to see that the silks appear to be sewn te an.interfacing like esteriel. Fabrics Silk and.ve1vet. Liam lone. Be or W _1 tin” lone H yes .A deep rose silk bias tape has been machine stitched on the top and turned under and slip stitched.te the backing. 28 Q. CONSTRUCTION gm.) Backig Pink flowers with a watery effect. Appears to be drapery material. Battim Can see an interfacing like material. Also must have thin cotton batting. Grand Rapids Publio Hum {128% HIT.AND MISS I A - TOR W m: is a one patch pattern. Hnley'sl "Hit and use" pattern identifies this quilt. Donor Mrs. Blanche Fox:8tesnman th6 Courtney'H.E. Grand Rapids, Michigan Jocamber 17. 1959 81ft istoric Sic canc Information was not available due to the recent death of the donor. W3 Information was net available. 9 0 ns o Information was not available. WM InIOrmation was not availahle. £5.29! Overall dimensions sixtyanine inches'hr seventyative inches. Desigg White thread used to slip stitch the squares tegether. Each square is approximately'ene and three-eighthe square. 1- F1111”. W P11“ 1“- 30 31 Bi‘OP ont mggg $00115.) three-fourths of the quilt has different fabrics distributed throughout, but the top five rows have similar fabrics grouped together. It looks as if there were an attempt to for. a cross with the following fabrics: red. navy and white stripe and dark blue print. Fabrigg Cottons, prints, stripes and plain. A few of the two inch squares in the border design have been pieced whifi shows the worker utilised all scraps of fabrics. Simture None Border Design has must be a nine patch varieties block with two inch square patches (squares vary in size), fon- corner squares are of the same dark brown fabric. Between the corner squares is a white square which has been divided into three triangles. the center triangle is of a dark print (different from the other prints in the nine patch block). The center square is of a dark print. The entire nine patch is six inches square. When each block is Joined dth the next one the center dark triangles on the side fora a diamond shape. The majority of the triangles match perfectly although a few 81'. slightly laws C. CONSEUCTION mm H mom Information was at available. Mm Very difficult to deternine as black thread was used and the backing pattern has small black dots. It appears to be vertical lines one and one-half inches apart and horisontal lines one inch apart. 32 Q. CONSTRLYQEON Scent.) W). P t to In the border pattern the triangles are outlined inter- nittmtly so that in some instances the relief ferns a diamond quilt pattern on the back. fires; Black che Fivetosixrunningstitchesperineh. lletalwaysina straight line. cre o e Bacldngturnedmderentepandseouredtdththreerowsof machine stitching with black thread to for: an edge three-.eighths inch wide. Batm Appears to be thin cotton sheeting. new A dark cerise cotton nth black geometric design which has white dots. Grand We Plblie m leSflfi5 BITUDHISSII A, HISTORY Quilt Pattern nu. again may be identified nu: under-1 "an and Miss” pattern. Tim bits of cloth all out the sane eise and ghape are sewn together without an attempt te for- a pattern. NROR Hrs. Siegel H. Judd 737 San Jose Drive 8.3. Grand Rapids, Michigan Historical Sigificgg Without knowing the chronology of this quilt it has historical significance because the donor is very pruinent in Grand Rapids Civic affairs,3 and her usband, these fanily ms the quilt, is an outstanding lawyer in the commits. Hrs. Judd provided the writer with gwe newspaper articlesv" and the Histogz of Kent Cguntz for 188; which authenticated the Wooden-high udd ancestry. According to Mrs. Judd it seens as though the quilt was made by Mary Heedon fre- Janestovn, Rhode Island. Janos and Mary Weedon came to Kent County with their daughter Nancy and Milt a house which still standsenilpine Roalei. ”Mutual-18106 in Walker kinship. Rapids: 1. Finley, {etchwerk ggg, plate 1“. 2. Ibid., p. 1&8. 3. 2.2. Lydens, Editor, E? 33% of Grand Ragga. (Grand Iregel Publications, 196 , p. , 97, . It. Ibid., p. #115. 5. W January 110, 1936 and Dee-her 12, 195“. 6. Histo of Kent Co t 1881, (Chicago: (3.6. Chap-an Co., n.d.) 310 35 A, HISTORY Scent.) Historical Si ficance cont Nancy married in 1850 Jeremiah Wright, who was the grandson of Solomon Wright, a Revolutionary soldier who at the age of eighty-five case to Michigan in 1836 with his sons Benjamin and Solomon. Jeremiah was one of the first settlers of Walker Township which in 18% was renamed Alpine Township when Walker Township was divided into two townships-«Walker and Alpine. Jeremiah and Nancy Hright had a son, Addison Wright, who narried Sara Boyer. As they both died when their son Seigel was a baby, he was adopted by Addison's sister Lillian Wright Judd and her husband Edward Judd. g: Whom Constructed The donor’s book lists lancy Heedon, but Mrs. Judd stated that it was Mary Heedon. Year of Construction 1830 Locatign 2f Cgpstructiog B, TOP Rhode. Island Overall dimension: forty-eight inches by seventy-eight inches. Deslga Each square neasures one and one-half inches square. There are forty-three squares across and twenty-five squares dom. Fabrig A11 cottons. Plain, prints and checks. . nature None Border Desig g All around the quilt top is a white cotton border which neasures four inches wide. The blue yarn ties give the border a design. 36 C . CONSTRUCTION Mm None as this is tied with blue yarn. The yarn has been tied in bows on the tap. How Eda: es Gogglem The tap and backing are turned under and are held together by blue yarn which has been blanket stitched three-eighths of an inch deep and with one-fourth inch between each stitch. m of Batting Thick cotton batting. Backing mite cotton on which red has faded. mum mmunsn Grand Iaphls Publie Huss- 0120897 L03 CABIB VARIATION A, my P tto This quilt pattern is very similar to the “Barn Raising" quilt in the Shelburne Mumml collection except u- gum in this study has triangles in the center, and Shelbume's has a square in the «mater. The pattern is also very similar to Mathieson's2 "Roman Stripe", but again the triangles in the center are different. Woman's Day? has a pattern like this quilt which it calls "Roman Strips“. Hallandxretdngerl‘idsntiiya warmttern asbeing a one patch, "Roman Stripe“ and another one thick is aililar 1. called ”Log «mm Raising".5 Monmé states that if the stripes are placed diagonal); it is the "Barn Raising“ pattern, but the description or the rat of the pattern is not like this quilt. With all the various opinions in the literature this writer has decided that it would be lore scam-ate at the present to label this quilt a “Log Cam“ variauen. 1- cal-151.0 W! P0 260 2. miaabeth Laird Mathiesn, WW (Cleveland: World Publishing Company, 19»). p. 59. 3. "The sto or American needlework #2: Patchwork" mu 2:. April. 1961. 1" ’ ' b. m1 and mtdngor. MAM: p. 52. 5e may Pe 197s 6. 14¢th W p. 110. 38 39 A, HISTORY Sggntd Donor Mrs. Edward J. Sheridan 1"‘25 M. 3.3. Grand Rapids, Michigan M31 7a 1962’ 81“; Historical Sign_ificance Intonation was not available. 151 Whoa Constructed Information was not available Iear of onstructi Information was not available Lo cation of Construction Information was not available 8, TOP Overall dimensions: fifty-three and one-half inches by fifty-.five and one-half inches. Doggn Host the squares have two triangles-none in each of two diagonal corners. The rest of the square is composed of five strips seven-eighths inches wide. Although a few squares do have nore strips of narrower uddth. It appears that the black silk fans the predominate pattern. Aloe that there is planning in that four of the squares have their triangles nest to four a square center which gives on the idea that it is a derivation of the “Log Carin" pattorn. At the point where the four triangles neat to for. a square there is a fringe of red silk thread. Each square is about five and one-half inches square. The strips vary from- seven-eighths to three-fourths inches. It appears that the strips and backing have been sewed by machine. Fabric; Appears to be nade primarily of men's ties and men's vest materialaosilks, taffetas. WW 9am None. This is tied at tn. Jmction ef each square as red stringsahich are made into tassels on the top. H e o la Gray silk bias fabric is slip stitched on the backing and is turned under on the front where it is held by a feather stitch. Threads of feather stitch are: red, yellow and orange embroidery floss. W Must be thin cotton sheeting. m Gray silk stripe. Part of the backing is machine stitched and part is hand sewn by brown thread. There are two colors of gray silkstripe. Oneisahostabre'ngm. Grandlapidshbliehuse-rm LU} CABH - COURTHOUSE STEPS an HISTORY Quilt Pattern According to the Shelburne Museum1 collection this quilt is the “Log Cabin Court House Steps" pattern. mite2 states that this was a favorite way to use up silk scraps. That the different placing of light and dark corners either produced "Straight Farrow", or a "Barn Raising" pattern. Every colonial hone had at least one of these gsometrically arranged quilt, usually from noel or cotton. Donor Hrs. Chalmers Quaintancs 4081 Clearview LE. Grand Rapids, Michigan lovenber, 1962, gift Historical Bigggficance The donor remembers this as always being the "brown quilt" in her Grandlmther's cottage at Bay View. This was originally a Chautauqua camp. The quilt was either taken to the cottage by the Grandmother or possibly was in the cottage when it was purchased. In either event the quilt was nost likely made around Portland, Indiana. Location According to Mrs. Quaintance the quilt was made in the Portland, mm We 1. Carlisle, Shelburne, p. 28. 2. “hits, Novmrk Quilts, p. 73. 30 Mdo. P0 730 43 A, HISTORY (ccnt.l By whom Constructed Hot known Zgar of Construction Circa 1870. Detenined by piecing together events with the donor and the fact that the materials appear to be those popular around the 1860's and 70's. B, TOP Overall dimensions: seventy-five inches by'sightyufour inches. Design Looks as if the brow: print was intended to be the center of all the “Log Cabin“ patches and the worker ran out of fabric about thresJourths of the way through the work. There are nine “Log Cabin” squares across and eight squares vertically. Each square measures approximately eight and threw-fourths inches by eight and one—fourth inches. This is a typical "Log Cabin“ pattern in that it is composed of strips of fabric. In the center of each square is a yarn decoration resembling a flower or rosette. In places one can see bright blue thread in a running stitch on the top of the black which was used to hold these pieces together, and brow thread was used on the brown cotton pieces. Fabrig Mostly dark cotton fabrics. mo writer was surprised, though in looking at the slides how the light fabrics appear to dominate. nae fabrics are black pints, browns a few lavondar, red check wool, pink and black check wool. A few silks. This night be considered a good scrapbag representation. B, TOP Scent.) Beggar Dacia The entire border is four and one-half inches odds. Within this measurement are: one and one-fourth inches of brown print; one and one-fourth inches of olive green, beige and lavender check and two inches of blue, light turquoise and charcoal check. Orange yarn rosettes between the blue check and olive green check; lavender yarn rosettes between the brown strip and the “Log Cabin” squares. LCONSTRUCTION Quilting Whom Not known Pattern Kane. The top must be attached to a comforter which is used as batting. How Edges Completed Bias strips of the follmdng materials: check: brown print: and a blue check form a one-fom-th inch edge. This has been slip-stitched on. m of Batting An old comforter. Backim Thin tan broom muslin; one little square had been patched with the original tan material and whipstitched on with white thread. DI ADDITIONAL INFOMTION This quilt was in such fragile condition that it was not hung to take the pictures but was placed on a table. PLATE V LOG CABII COURT HOUSE STEFS Grand Rapids Public Basel. ’130196 RED WITE BLUE CIVIL WAR QUILT A , HISTORY Quilt Pattenn This is a one patch design and lust be in the "family" of leu quilts as there is the one large white patch on which something counselor-stive could be placed. Donor Mrs. Mabel Bloink 1603 Franklin 3.3. Grand Rapids, Michigan August, 1966, gift Histogcal Sign_ificance Civil War. Many quilts were made by Southern women to sell to Northern soldiers. n; Whom Constructed Not known Iear of Construction Circa 1865 Lgcaticn cg Construcgon Information was not available B, TOP Overall dimensions: approximately eightyane inches square. 22m The quilt is composed of three inch squares of bright red, on a square which is divided diagonally so that one side is blue and the other white and another solid white square. 0:: first looking at the quilt, it appears that the red squares alternate with the blue and white ones except aha they 1:6 “7 2. TOP Icont.l gbsigngficont.l encounter the large white square which is twelve inches square. it this point the red square is only a triangle. But in studying the quilt one discovers that there is a definite plan. The large white square is surrounded by red triangles and the blue part of the blue and white square is placed so that the blue fits in the red to forn.a “frame” around the large white square. The plain.white three inch squares alternate with the plain red squares in the spaces on the quilt, which are not affected by the large white square pattern arrangement. There is a total of one hundred sixtyafour red squares: ninety. eight red triangles: one hundred fortyetwo blue triangles: two hundred eight white solid squares. A.total of twelve large squares. Twenty-five rows by twentyafive rows. Fabrics Cotton: plain bright red, blue and white. Signnture lone Border Design lens as such. The plain red square does alternate with the blue and white square. C, CONSTRUCTION Quilting n: When Not known Pattgnn A vertical left to right diagonal snth the rows spproxisstely one and one-half'inches apart. On the horizontal straight lines one and one-half inches apart. Thread “hits C. CONSTRUCTIOjocont.1 lti cont Size Stitches Approximately’five stitches per inch. How Edges Completed The red cotton used in the top has been cut in a bias tape and slip stitched to the top. Then it is whipped stitched to the back of the quilt with a white thread. This ferns a five- eighths inch border. The ends are rounded. Five to six stitches per inch used in.whip’stitching and six stitches per inch in the slip stitches. 2:23 of Batting Thin patches of cotton. Backing White muslin. mun um. ”QUILT Grand halide Public Inse- ”35791 HINE PATCH VARIATION A, §2§ZQRI anlt Pattern Ball and Kretsingerl and no.2 both illustrate the nine patch variation like this quilt. 211': Mrs. Blanche Pox Steamer: 1046 Courtney LE. Grand Rapids, Michigan Decanter 17, 1959, gift fimgcal Simgncance Infomtion was not available due to the recnt death of the donor. n: then Construct_en Information was not available gear of Construction Information was not available ti of con true Intonation was not available 8, 12-? Overall diaension: approdnately eightyethree inches by ninety inches. 1. Hall and Iretsilger, Batchwork Quilts. p. lI8, plate #15. 2. White, Newark Quiltn, p. 17. 50 51 B, TOP jeontJ 228.222 One large square of a red and white print alternates with a pattern block. There are six designs vertically by six horizontally which have the red and white print blocks between. The squares vary in size, but are approximately eight and one-half inches square. The pattern blocks are set on the quilt top on the diagonal so they appear to be diamond shaped. The pattern blocks and at the edge so thatone.halfofaredandwhite print squarefernsa triangle between the pattern blocks. mthin the pattern block are the following measurements and patches: each corner :9qu is two inches sqmre, between these are long patches four and one-half inches by two and one-fourth inches, and a large center square which is four and one-half inches square. Fabrics Red and white floral chints for big squares between the pattern squares. In the pattern squares are cotton prints, stripes, and some oalicoes. mus: lone Border Dacia The sides have the brow: chints floral pattern as a design which is three and one-half inches wide and is the complete length of the quilt. Both ends of the quilt have seven inches of the cane drapery material. One end has two red print squares, one seven inches and the other seven and one. half inches in length suggesting that the drapery material was not sufficient for completing the border. C, CONSTRUCTIOI‘ Quiltig 22 When not known 52 0, CONSTRUCTION S cont.) gui___1t__ig scent.) Patteg The shell quilting pattern is used on the red and white chints square between the pattern blocks. The quilting on the pattern block is of straight lines which are similar to Hall and Kretsinger'sl plaid pattern. There are three sets of vertical double lines across and three sets of the same horizontally. The double lines are about seven... eighths of an inch apart and is about two and one-fourth inches betweenthepairoflinestethe firstlineorthenextpair. Diagonal lines are quilted on the border. niece vary {ran three-fourths to one inch to one and one-fourth inches apart. Thrace. amt. Sti he Five to seven stitches per inch. Stitches vary in length and are uneven. W The backing is brought over and turned order. It is then fihipped stitched to the top of the quilt with finite thread. This forms an edge about one-fourth of an inch wide. R2! of Ba ttigg Cotton £22m strips or dark green with a mite lea! pattern alternate with the red and white chints laterisl. 1. Hall and boning». W21: 1» 272. PLATE VII NINE PATCE VARIATION Ora-dilapidsl’ubliemilfim LEHOIIE STAR a, Heron; W his star pattern is the foundation of dosens of eenbinaflens 1 and variations. It is essentially a disnend pnduced pat . All Lily and Tulip designs are based on this famous pattern. It was naned for Jean Baptiste Le Hoyne whe unded lev Orleans. In the Rorth it was also called ”Le-en star“. This pattern was nose popular after 1803. Home“ called it an eight pointed star. But nest of the ether setesenees5 called it the ”Le hey-e Star“. Ihiswriterwasanasedtoseethesaneeightpeiutedstarin inlayenaneakchestuhichhadbeennadeincenawdm-ingthe latesixteentheeatury. am Mrs. Robert H. 1m 1:61 halton E. Grand Rapids, Michigan January. 1956. sift 1. “-311.19 We P. 31. 2. Ben and Kretsinger. We 1:. 55. 3. sex-nae. mm. p. 22. b. Morin, P to e p. 56. 5. Hall and Krettingfl'e mm. p. 55. m Hula Pahwo “p.153dlngi‘l7 0011mm .22 W h .mp3». ' ' " ' 6. Jehn Gleag. A ,- _ :. _. . = O (IWIOPE. L" ‘10? Inc... 15' .Pe 3e 55 1. my sggnt.) fistorioal Simficancg Information was not available & Mm Construct‘eg Information was not available W Information was not available mating of Construction Information was not available B. TOP Overall dimensions: seventy-two inches by ninety-four inches. 22% no pattern blocks consisting of the eight pointed star called the "Le Moyne Star" alternate with a white square which has a quilted pattern. his star blocks neasure approximately six and three-fourths inches square. his overall quilt design consists of one row of three star pattern squares alternating with two quilted squares. The next row has three quilted squares alternating with two star pattern squares. These two rows alternate on the There is a total ef twenty-eight star pattern squares and twenty-seven quilted squares on the top. The stars must have been pieced together and than appliqued byslipstitchingtothewhitebloch. mosestitehesvary from eleven to fourteen stitches per inch. Extracecareandwrlosanshipnustbeutilisedtehavethe dianendpointsneetjustrightintheeentsrofthsstar. It appears that the worker had difficulty edth this technique. Theredandgrecaprintedstaristhebestnatchedofallthe stars. Because of the difficulty in matching, it sens as though four diamonds were pieced and then Joined with the other four diamonds to for. the star. One of the stars looks as if sixof thedianendswerepiecedandthmtwootherdianends were added. B, 322 Scent.) Fabrics White cotton.nuslin. The star patterns consist primarily of calico; although a few diamonds do have plain colored cotton fabric. 1159.892 Hone W39. There are two divisions of the border on the sides. The border next to the quilt top is ten and one-half inches and consists of six.lines in a cable design in the center of a row of interlocking circles. The quilted cable and interlocking circle border curves around the corners where on the ends the border is nine inches wide. On the sides there is also an eight inch‘border’which.has straight quilted lines about three-fourths of an inch apart. C. CONSTRUCTION Quilting when Not known Pattern A running stitch around each diamend's outside edge and then around the outside of'the whole star. This forms a star pattern on the back of the quilt which has two lines one-fourth inch apart. In each of the four corners of’this pattern block is also quilted a circle about the sise of a quarter. In.the white square between the pattern.blocks is quilted the square diamond pattern. The lines in this pattern fern five-eighths of an inch.squares. Thread White l. McCall; Needlework Treagggz, p. 117. come: We.) W Pivetosixperinoh. “stitchingandwelldene. W Biastapetm'nedunderentepand‘hippedteback. W Appearetobeeetteneheefi-Ite am lute settea 1. ”.mp-M- denatedtethessseu. Finding mnvm Lemons Grail Espids me Hue- {121231 mam am 921.: Patten am and Kretsirgerl call this ”Prairie can but alse sentien that it was known by "Harvest Sun" in the Biddle Heat and as "Ships hheel" in Maine. nexm'e “Virginia Stat-"z is an)”. but the corners are finished differently. sesame? calls it “Ships sneer. Perhaps this author best describes the reasons for the different naness Astarthattraveled. Thisstarfirstappearedinleehge land. netdvesanddaaghtersefseafansgneasadeitin theshapeefaship'sdteel. Thedesigntraveledaestward... Istsylvanaafarawuas...eeJJadit'Peu-hves‘is aHindew". hrtherweet...ealledthe'lasvest8u'e thasalsebe-eslledthe'ltaref '."Leneltar". “Star eftheliest'snd'flisingh“. u Mr. and Mrs. Terry L. Hills 911 M sale rand Rapids. Hiatus- W ‘9 1950. ‘1“ W Intonation us not available 0 1. mamaemmpo 63.06. 2. WW5”. 3. new. W p. 61. .0 me. ’e “a 5. MeCalls [sadness-h Treasury, p. 118. 59 60 A. HISTORI scant.) m Whom Cogstructg Lemira Colton and her Mother Just before Miss Colton carried Aaron R. Hills, December, 1852. massages 1850 Overall mansions: approximately eighty-tan inches by seventy-eight inches. m Four “Harvest Sun" patterns across one end with three green calico five and one-half inches square set diamond—wise between then. This row alternates with the next row which has three large green calico squares (eleven and one-half inches square. approximately) with four smaller squares (approximately five and one-half inches square), of green calico thich have been set diamond-use between than. The diamnds are whipped stitched togethc. Fabrics All are cotton. The stars are of various red prints with the light parts ofthe starinahremprintandagrayprint. Bright green calico prints has the squares. mm lens W Onallsidestherearethreelsnggreencalico (fiveandone-half inches by eleven inches) strips between the stars with four green calico triangles in the center of the star. Each comer ofthequilthasagreeccalico square (fiveandone-half inches square). 61 9. CONSTRUCTION sauna Emacs Hot Imam mam It appears that one-eighth of an inch inside each diamond of the star a line was quilted around. Shell pattern on the green triangles of the border. 'nn'ee circlescncernersquares ofvarying sise. iheeutsideedgeefthelargecalieeequaresontheberderare outlinedandthen starting atthe cuterefthese squares, lines arequiltedenthediagonalfive-eighthsofsninch apart. anallgreencalicesquareshaveanevalshapeineachcorner and the center of the square has curved lines which for: atriangle. Large calico squarehasdiagonallines quiltedallinene direction and the lines are five-eighths of an inch apart. can Black misses Six to seven stitches per inch. Weiss Adarkbrowncottencutinteabiastapehasbeensemtothe tepandturnsdunderandtdxippedstitchedtethebackforning aene-fourthofaninchberder. W Thin cotton sheeting m Bron, tanandgoldplaidwithbeige centerandwhite floral design over this. Grendlafldshlbliemrm VARIABLE sun A. HISTORY 93;; Patteg uil tte In the Momtain Mist1 booklet their pattern ”Zig lag" is similar concept it has plain squares in each of the four corners and the quilt in this study has two corners which have the square divided in half forming one white triangle and the other the pumpkin colored triargle. The other twe cormr squares are the solid pumpkin color. The center square of the Museum's quilt is large and has a star quilted in it. The Mcmrtain Eist one has a large square with a nailed- contrasting color square in tb enter. The Shelburne Mucus:2 quilt is similar te the quilt in this study and is called “Variable Star". In fact. the quilt in the study could be called a ”Variable Star” as it is a derivation from the star pattern. The Grand Rapids quilt is essentially a four patch category pattern. The difference between this quilt and the Shelburne quilt is that the two diagonal corners have been divided into the triangles and the Shelburne quilt has solid corners. Also the center square is the Grand Rapids quilt is a solid pmpkin color calico print whems the Shelburne quilt has a square inside the center square. Perhaps the scan the made the Grand Rapids quilt used her our ideas as it appears she was an accomplished seamstress. Hall and Kretsinger's W 8tar“3 and "Variable our. "lone Star" er “Tease Star" could also have be. the inspiration for the quilt pattern except their four corners are solid squares instead of being divided. Edwards, W11. p. 21%. Carlislee m Po 3. can and Kretdngera W p. 5». plate M. Ibid.. p. 56 f8. 9. 10. 63 6b A. HISTOR! Smt.) Donor Mr. Robert J. Philip Constock Park. Michigan September 15 , 1962. gift gistorical SiggLificggge Doc to the fact that a letter was returned "\mknoun". the information was not available. 13me Constructed Information was not available . Egr- ot Construction Information was not available. Location of (tensitrucygpi Intonation sac not available. lid—BE Over all dimensions: approximately seventy-eight inches by eighty-four inches. Design no pattern block consists of a pmpkin colored calico center square which has an eight pointed star quilted in the center. This is surrounded by a saw tooth border of the pmpkin colored calico and a plain white cotton. Two of the corners are the solid calico. here are seven pattern blocks on the horisontal by six pattern blocks on the vertical. mess pattern blocks alternate dth a white square of the sane siae which has a “feather circle" pattern quilted on it. has quilt is planned so that the pattern blocks are set an the toponthediagonalandtheyappcartebedianond draped. The pattern square ends at the edge so that one half of the finite square forms a diamond square in betwem the diamond points of the pattern square. In the half. of the white dienend. white one has a feather circle. and the alternate one has a star pattern quilted in it. 65 g. 19? scent.) Fabrics Cotton. Pumpldn color print which has a very small green design. Gold calico print is used for the diamonds on the border. Sinaure Border Design Gold calico print diamonds form the border. Quilted around the outside edge of the diamond and a quilted diamond shape in the center of the diamond. One half of a diamond is quilted on the thite material mich forms half a diamond between the gold calico print. The border width is four inches and is composed of: thirty. eight diamonds across the bottom; thirty-one complete diamonds and two half (lengthwise) diamonds on the side: thirty.three complete diamonds and one half dimnd on the other side; and forty-one complete diuonds across the top. C I CONSTRUCTION 90.1.1535 p; Whom Not known Pattern he admits square thich alternate uith the pattern have the "Feather Circle” with the diamond pattern in the center. in eight pointed star is quilted in the center of the big pumpldn colored square of ghe pattern block which is similar to McKim's “Blazing Star". ”P's are quilted in the cormr squares of the pattcrn block. The white triangle in the corner squares has quilting around the edges. 'the quilting in the border design has been described. c. 3:. Antoine (contr) Thread unite Stitches Runnin~. seven stitches per inch. On the ”Foathsr Circle" white square are eleven stitches per inch. How £6735 £02313 flop and backing are turned under. It appears that a bias tape has one-eighth of an inch sewed to the tap and than it is uhipstitched to the backing where it is one-fourth of an inch wide. :12; of‘Eattiqg It appears to be thin cotton sheeting. 2:22_of Backgg; White cotton l. Ennis. P tchwo k P ttern , p. 66. 2. Ibid.. p. 124. 12 #1290 Mic thee. lapids Grand BLOCK OR CUBE WRK TOR malt Pattem It is interesting to note that many tables and commodes with narqustry on than from France in the eighteenth century utilised this same pattern. A more recent historical note is that former President Dwight D. Eisenhourrocalled thatasachildhe cutoutdialond patches for his Mother, and then later rcaunbered sleeping mdsr . quilt of this design.1 There are various names assigned to it by the references. Finley calls it EBox Quilt". "Pandora's Box" and "The Heavenly Steps"; Hall and Krets or3 say that it is ”Cube Work" or ”Baby Blocks" and McKin calls it “Babys Blocks". Brightbill calls it "Tmbling Blocks" and suggests that this is a good pattern to use for a boy's non. rut-6 says that it 1. also called “Tea Chest“ and um. ifoareis usedinshadingtheoolors oftheblocks itcanbe called "me Heavenly Steps". m Mrs Robinson Studley Heirs. 1950. His c Information was not available. 1. Carlislo. m p. 23. 2. 31111019 W0 P. 61 3. Han and mud-near. Wa- p. 52. b. noun. figtchwogk ammo. p. 115. 5. Brightbfll. m. p. 71. 6- “'1“- W P3833. w' 69 A. HISTORI Scout.) gz'Whom Constructed Not known Igar of Construction The Museum label with the quilt states 18h0-1900. Location of Construction lot known B. TOP Overall dimensions: sixtyaflhree inches by'siziyhfive and one-half inches. 29.513 The quilt is illusienany. On first looking at it. it looks as if it were composed of squares. But on a closer look the fabrics are out into diamond shapes. It appears that the sewer tried to have a rou'of identical fabrics in each row*of‘blocks.‘but in some rows had to fill in with other fabrics. There are twentyaone to twentyaeight stitches per inch “ m mums my. silks and taffetas. Black silk diamond on the side of each block. Other fabrics used: green pin stripe. blue silk. brown plaid. purple silk brocade. green silk brocade. red silk brocade. purple stripe. iridescent green and blue silk. floral stripes. black and blue stripes. purple and green brocade. coffee color silk. green and brown stripe. blue pin stripe. shall brown check gingham. brown brocade. royal blue dots on blue background. amiss: Egggcr Design Along the sides are a half a black diamond. If the pattern material ends on.the edge three.feurths of a dienmnd is placed. 70 C. CONSTRUCTION Quilw g: whom Rot known Pattern None in the usual quilting terms. However. the backing is quilted with a navy blue thread. A pair of lines one-half inch apart with one and three-eighths of an inch between both vertical and horizontal lines form thirty-tun suqares across the back of the quilt. The squares next to the edge do not have a bow in the center. but on the inside rows bows are placed every other row vertically. Stitches Sixteen to seventeen stitches per inch. How Edges Completed Five eighths of an inch of purple bias ribbon is machine stitched on each side with red thread. This is only done on the top piece. Fabrics similar to those used in the quilt are folded in triangles to form a "V" which measures one and one-fourth inches from the tip to the edge. 2222 of Batting It appears that cotton sheet batting is held to the bacldng by the navy thread and bows. Backig Bright red soft wool. mun BLOCKS OR CUB WEI 5 aka” a. ,.... ..\..\ .5. s... wants. 3; e... .l Gram Rapids Public Hussi- In”) HINDMILL AND HHIRLIGIB A. sIsronr 9341c Pattern It appears that this quilt has two patterns: "Hhirligig' and "hdndmill". 'Dris was determined by comparing it with the various references: Mo 's "Flutter H:eel”;1 Hall and Xretsinger's “Pin htheel" and "Windmi ". "Water Wheel" and "Mill Wheel"3 and Finley's ”Windmill" . Hhite5 lists .11 these patterns and has an illustration thich is like the quilt in the study. DONOR Hrs. Blanche Fox Steenman 1M6 Courtney LE. Grand Rapids. Michigan Decenber 17. 1959. gift Historical Significance Intonation was not available due to the recent death of the donor. & mom Constructed Infometion was not available. In; of anstructiog Information was not available lecatygg of Constgction Information was not available. 1. Mexico. Zatgwork Pgmmg. p. 7b. 2. Hall and Kretsinger. Pam work Quilts. p. 87. plate 6. 3. Ibid.. p. 73. plate 8. ’t. W9 W! P- 56- 5. mu. Newark Quiltg. p.7216. 3. TOP Overall dimensions: approximately fiftyotwo inches by sixty-four inches. m There are ten blocks horizontally by twelve block vertically. Basically the “Windmill“ pattern is in the darker fabrics. here are five diagonal rows of this pattern. The first one having four blocks: the next eight blocks: then ten blocks; nextsixblecksandthelastadiagonalmoftmblneks. The blocks neasure approximately four and five-eighths inches square. fabrics Hainlyavarietyefoettonprists. Theberderisehintsand the backing is a heavier cotton. mortar: lone E1!!! Desng Thereisatwoandone-halfinchborderdomth diesrhioh hasanarabesqeelihepatterncntheplueolor. Oetheuds betwecnthesidepatterns isaborder efadarkbreletflsrel prietutiohiseeeandeee—feuthieehes. 71: g. QQXISTRUCTION scent.) ti cont 3 tche Six to seven per inch. 323 Q cs Comletgg The top and back are turned under and held together with rurming stitches of brown thread. In some places the material has boa gathered to meet the backing. m o; Batting min cotton sheeting. nan; Purple and green stripe cotton with three leaf white pattern overlay. Grad Rapids Public Hose- #125823 75 csunsmssoammmmm aims my Pattegg Moxie calls us. “Chm pawl which for her 1. a variety of pa aninepatchdesign. firesaysthatthis tternnakesableek nineinchessquare. hellandlretsingu-haveepattern‘ChurnM‘zbutitis different from the q t and Mann's. lall and Ireteinger's "Double Monkey Branch" looks like the Muse-‘s quilt. hey also say this pattern is called "leveknet'. "lele in the Barn Deer". ”Puss in the Corner". "Shoo Ply”. “Lincoln's Platters” and "her-en's March“. Pinlsyalsecalls this "buhhlhnhyln-u'bandeeysthet itisaninepatohdodgn. ler'MnDaeh'issfourpetd design. Hrs. Blanche Pox Bteeman 1011/) Courtney DJ. Grand Rapids. Eichigan W 17. 1959. gift W Informatieawaseeteveilableaetethereeeetdeath efthedoner. W Informationusnetavailable 1. Hon-.me. 121. 2. www.mm10nhu9. 3e we. Po “. ’1‘“ 11. b. “-10. W- P. 30. 76 W). W Information was not available W N Inforeatien was not .mp1. m Overall dieensiees: apprerieately see hundred four inches heighty-ene inches. m Aeressthefirstreeisableekefthreeheriecntalstripes “alternatewithableokefpdnkendvhitesquaresthat arearramedrdththreesquaresacrsseandthreedownrdthin thebleck. nerearefivestripedhlefieendfeerhleeks eftheeieelittlesquaresecressenerew. mthensattreethepatternef"6huranash'isplaeedaheve the block with the herieental stripes. he pattern block alternates with a block of vertical stripes which is above thebloekwiththelittle squares. Therearefivebloeks efthepattereandfcurhleeksefthevertisalstrdpes eeressthisrew. fheset‘erowsalternatecnthequilttop. letetaltherearesiarewsefthepattereaadvu-usal stripesalternatingndthseveereeseftheherieentalstripes and-allsquerehlecks. heblocksareappreeintelysev-anihalfieehesby eightinshes. 2mm hightredandpiekeottoeendepaloredendflnkwint. Ontheborderareafewpieeesofeeallpinkandwhitecheck cotton gixhae suggecting that the person did not have mh of the original print to complete the quilt. utenslinblecksandthinudaiteeuslinforbacking. mm lens 78 B. TOP Rent.) Border Desi-n On the two ends there is Just the mo-fowth inch white muslin from the backing as finishing. On the sides a long strip of material is adjacent to the pattern block and threennallsquaresarealongthesidecfthehorisonfal stripe block. Brightbill calls this a pieced border. C CONSTRUCTION con Mm m them Not known Bottom From: the back the outside edges of the "l’nnkcy Wrench" pattern can be soon. he rest of the quilting appears to be vertical lines one and onedzalf inches to two and one-fourth inches apart. Also the pattern forms one and five-eighths inch blocks. 222:3 Phits ti he Five to six stitches per inch. Running stitches. Uniform and the lines are straighter than sons quilts with more stitches per inch. w re lee Bacldng is turned under one-fourth inch on the top (in places this widens to mm inch). mam Appears to be thin cotton battirg. Although there are places where it is thicker. m Light weight white muslin. 1. Mahmud 9113.393: Po “6- M3 1111 mmmumsnseah CHERRY BASKET A. ENE! W Hall and lretsinger's "head Baslcet"1 pattern is perhaps the closest to this pattern, but the top of their basket only has three triangles. The Musem quilt has five triangles with three being red and two mu. mm- "Cherry sawhz leeks here like the quilt as it has the curved handle. but this one has one more row of triangles than the quilt. HcXin's “Cherry Basket"3 appears to be the closest to the Museu- quilt as it has an arched appliqued hauile and the base oonsists or twe triangles. Ham‘s basket however has an extra m of triangles at the top. There are manerous basket patterns. But one way of distin- guishing which is the pattern nane is as follows: the arrangement ef the triangles; whether the base of the basket is made of two triangles as this quilt is or of a solid piece of nataria; whether the handle is square or romded; whether the handle is appliqued as this one is pieced and finally what the basket “We. fruit or if it is without awthing extra. 299:. Mrs. Burt Van Tassell 113 Fourth Avenue Big Rapids, Michigan 0mm 11, 195?. gm WW Information was not available 1. Hall and Kretsinger, W p. 126. put. 6. 2. ma" plate 1n. 3. Mom. WM 1». 32. so A. HISTORY Scout.) By mom Constructed Dcnor's Mother Iear of Construction 1890 Location of Ccnstructig; Grand Rapids, Michigan BI NP Overall dinensions: sixty-mine and one.halt inches by eighty-five inches. Design. Ihe top consists of a “Cherry Basket" pattern of red and shite material. There are five basket pattern squares across the quilt and six basket squares vertically. Between each of the squares are lengths of the sane cherry red fabric. lhese strips are two and one-fourth inches wide and the strips on the length of the quilt run the complete length. are strips on the horizontal are Just the lemth of the top of each quilt block. These are hand sen to the quilt tap. The pattern block measures approximately eleven inches sqmre. This is divided diagonally. On the top part has been appliqued the red basket handle. On the bottou part the basket has hen pieced together tron red triangles and white triangles. than the two half blocks have been pieced togetha'. ‘ m. uhipstitohing on the basket handle 1. about ten stitches w ”Che Fabrics The donor said that the red material use called Turkey Red and was purchased Iron a store, 0.1). Carpenter. finish is now out of business. The white is cotton. Signature lone kids)! Design None as such. lbs red strip is around all the sides. 82 Q. CONSTRUCTION Quiltigg When Not known, but is different from the person dhc made the top. Pattern Overall diagonal lines about three-fourths an inch apart. Ehreag white Stitches Running stitches approximately seven stitches per inch. How' hes C lets White muslin seamed to the top and.then turned under and whipped stitched to the back. Corners are rounded. 2122 of Batting Probably a single layer of cotton sheeting. Backing white muslin HAT! m Grand Ram Mlle has. ”23901 CHAPTER V CRITERIA FOR WIN MUSEIM QUALITY QUILTS There may be nmmus reasons for a museum accepting a quilt. In some cases it is Just a repository. In others the museum is noted for its textile or quilt collection and thus would have established some guidelines. Sons museums leave the acceptance of quilts to their Director or to their Board of Directors. Others have curators who determine by their own Judgment or by established policies. mis writer could envision some guidelines such as: whether the quilt was of interest historically to the museum whether this is the any quilt in the collection and would be an example of folk art: whether the quilt comemorated a special event. or was from the family of a famous person in the area. use thulll‘ the qult were an example of a popular pattern from the area. Various euseuns which had well kmwn quilt collections and other ensems which were thought to have a collection of quilts were contacted. Colonial Williamsburg does not accept items made after 1800, therefore the date and whether the quilt was truly repremtative of the period in which Hilliansburg first flourished would be one of their deciding factors. 85 Amczg some of the criteria Henry Ford Museum uses is whether there is a need in the existing collection. They "try to represent as new different types of 18th and l9th century textile handth as possible, drawisg upon as new geographical areas as possible in order te demonstrate regional variation.”1 host of the nusems consider whether the offered quit is a duplication of one alreacv in their collection. Il'hey also consider: age, condition, quality, workmanship, place of origin, quality of design, rarity and sometimes color. A gift of a quilt which is not in good enough condition for exhibiting might be accepted tdth the understaniing that it would become part of the Museum's study collection.2 "If the quilt is being offered for sale, is the price what is known as Lil-9,7 'a fair market price'?"3 Concerning the workmanship and construction of the quilt one should remember that many of the quilts were made under dire circmtanoes and that each quilt should be considered for its own history. Many of the early quilts were undoubtedly made in haste as protection against the winter's chill. Later women had more leisure time and quilt making was fire of a hobby. The quilter could almost ”measure" every stitch. Mary of the books about quilting are written by women who are experts themselves and who would naturally be more aware of construction techniques. Unless this is a quilt Judging contest this writer does not feel that one should be too harsh in their Judgment of me workmanship 1. Letter from Melinda I. Frasier, Curator of Textiles and Costume, Henry Ford Museum and Greenfield Village, Dearborn, Michigan: December 31, 1969. 2. Letter from Thomas Kyle, Curator, Decorative Arts; The Newark Museum, Newark, flew Jersey, February 5, 1970. 3. Md. 86 outstanding worlunanship. Of course, if this were a museum which is known for its outstanding quilt collection one would expect to find fine workmanship on display or else a good reason for exhibiting a quilt which was of mediocre workmanship. 11:. excellent quilters were very careful in cutting their pieces. This could be another criteria as one could measure the pieces and note whether they varied in size. Curlisle2 said that whenever sealing was done with curved lines, infinite patience was required. Therefore, this should be brought to the attention of the public when this type of quilt is on display (that it required more care than a quilt of simple construction such as a one patch variety). A well planned quilt is described as: ”the border should sustain the pattern and not overpower it. The central color motif of the quilt should be repeated in the border. Tuning the corner is a good test of the skill of the quilter as it should be nitred.3 Sometimes a quilt contains interesting or rare fabrics and this would be another reason for keeping it in a nusem collection. If several quilts are available, the nuseun could use skill in making the quilt another deciding factor. 1. mouse 8. Ornsbee, m Io_ur_ Heirlooms, (New Iork: The McBride Company, 1957), p. 119. 2. Carlie]... W p. 14. 3. Brightbill. films. 13- “3- CHAPTER'VI SWEAR! MID RECOI-QE'MHGNS Sum-nan Fourteen pieced quilts were examined in the Grand Rapids Public Huseun to determine their pieced and quilting pattern names; whether there was any historical significance attached to the quilt; the approximate date and location of construction. The donor's names were kmwn from the ”donor's book“. Tue donor's were contacted personally. In each instance they gave further information about the use of the quilt, but not about the construction. One quilt was traced to one of the early setters in Kent County and the other quilt was of interest in that it had been used in an early Chautauqua in Michigan. Unfortunately the donor of four of the quilts in the study(and several others in the collection) had recently passed away. This clearly shows the urgency for recording information mile it is still available. Two donors could not be reached by telephone so a letter was sent. One donor was not listed in the phone book but had given sufficient infor- nation to the museum when they donated the quilt that a direct contact was not needed. Four donors were not listed in the current phone book and letters were sent to their last known address with questions and a self addressed, staunped envelope. It we hoped that the letters would be forwarded te them. Three letters were returned “Unknown" and the 87 88 fourth a niece answered for an elderly aunt. One quilt was included in the study which was donated by the heirs because the pattern was an example of a popular quilt pattern and it was the only one in the collection. The date of construction was also know: fro: the donor's book. The construction techniques of all the quilts were essentially the same in that most of the quilts had been quilted with white thread except the dark quilts which were quilted with dark thread. A running stitch was used on all quilts. It is interesting to note that two quilts had the square set on the diagonal so they appeared diamond shaped. In emery one could say that the Grand Rapids Public Museum has the nucleus of an outstanding quilt collection. This writer was particularly pleased that there was a “Le Moyne Star” pattern in the collection as this is the basis of so nary other quilt patterns. In determining the criteria 1w which a meme night accept donations for a quilt to their collection mm considerations are possible. The writer contacted nusemns with known quilt collections1 as to what they used for their criteria. Their curators listed such guidelines as: whether it was a donation or gift; whether the quilt was a duplication of one in the existing collection; if it would be a significant addition to their collection; condition; age; workmanship; design; rarity and historical value. If the quilt were in poor condition one of the museums contacted night consider accepting it for their study collection. A museum with a speciality such as a time span naturally has some guide lines. A total l. Shelburne Museum, Shelburne, Vermont; The Art Institute of Chicago, Chicago, Illinois; Henry Ford Museum, Dearborn, Michigan; Newark Museum, Hewark, New Jersey; Brooklyn Husem, Brooklyn, flew York; Denver Art Museum, Denver, Colorado and the Cooper Union Museum, New Iork City. 89 of fifteen museums were contacted and all replied with concrete answers. Recommendations Although the Grand Rapids Public Museum does have a wide variety of quilt patterns this writer hopes that in the future someone will donate a ”Ibuble Wedding Ring" and one of the "Irish Chain” quilts as these were very popular patterns throughout the United States. Also there was a period when people bested material over papers (such as love letters and copy book papers) and it would be desirable to have a representation of this in the collection. Originally the writer was going to suggest that if the future plans were to enable more students to study the textile collection at the Grand Rapids Public Museum that it might help to preserve the quilts by dis- playing theninfranes sinilartotherugframesshichtheShelbm-nehuseu uses. However, in writing to the Cluster of the quilt collection in that ausem it was learned that there are limitations to using the frames. Sometimes quilts must be folded in order to fit the standard sieed frames and the quilts must also be stapled to the background to hold then in place. As the mom does have quilt patterns available to the public it would be interesting to know how many quilts have been made fro: these patterns. Perhaps it would be interesting to conduct a survey similar to the one conducted at the University of Georgia} This writer feels that one ”crazy" quilt, if properly selected, would lake a fascinating textile study. 1. Virginia Lee Pledger, "Decuentary Survey of Quilts and Quilt Making in the Area of Athens, Georgia”, Unpublished Master's Problem, University of Georgia, June, 1966. 90 If one is observant they can see quilt patterns in all forms of art in the past and present. For example, quilt patterns have been seen in narquetry on French furnittn'e of the eighteenth century. Currently quilt patterns can be seen in textile designs for both upholstery and clothing. Therefore, it would be interesting to trace the origin of sane of the popular quilt patterns. BIBLIOGRAPHY Ciifi PEER VII as. new 51an meal Book; Whtbill, Dorothy. Quiltim g; 3 Home . New York: Bonanza Books, n.d. Carlisle, Lilian Baker. fiiecerLg-‘ork and Applique Quilts at Shellgumg VHS-em. Shelburne, Vermont: the filnelburne Annexes, .1337. Colby, Averil. Lat-rI-h-«eork. Boston, Idassschusettsl Charles T. Branford Company, 19:,d. . Eatchwor}; Quilts. New York: Charles Scribners Sons, 1955. Cole, Ann Kilborn, Anti-gueg. new York: David I‘fcfiay Co., Inc., 195-7. . the fieldenfiuide to Arerican_ivntigues. New Iorkx Golden Press. 1997. Constock, Helen. The Concise in clonediaof Assay-4c. Anti . How Iorka hawthorn Books inc" 1% . Davidson, Fax-shall 13., Editor. 8ng n 21 American Antiques from the .‘Rgvoltxtion toflthe Civil War. American Heritage Publishing Ihvison, Mildred. gmerica uilt The Art Institute of Chicago, 19w. Dmhan, Lydia Roberts. Denve zusem ilt llectio . Baton, William Rusk Jr. fig Quit L3. Catonsville, Earyland: Published by the author, 19%. Earle, Alice horse. Child Mfg Q Colonial m s. New Iork: The Macmillan Company, 19631. . gong 1451. in Colonial E 1;. new Iork: Hamillan Compaq, 1951+. Edmrds, Phoebe. The flaunts. 211st " ‘ ' ' its. Cincinnati, Ohio: Steerns and Foster Comparw, n.d. 93 Emlopedia of Needlework. flew York: Hearthside Press, Inc., 1963. Finley, Ruth 3. Old Patchwork Quilts and the Womgg M10 lads Them. Philadelphia: 4.3. Lippinoott Conpary, 1929. Gloag, John. A Social Histog§ of Mture Design. New York: Crown Publishers, Inc., 196 . Guild, Vera P. Good Housekeeping'g Comets Book of heedlecraft. Garden City, New York: Doubleday and Comparw, 1959. Hall, Carrie A. and Kretsinger, Rose G. ED Romance of the Patchwork Qyilt in America. Caldwell, Idaho: The Caxton Printers Ltd., 1935. Rarbeson, Georgiana Brom. gaggican Eeflework. flew York: Bonanza Books, 1938. Rinson, Dolores A. Quilting Manual. New York: Hearthside Press, 1966. History of Kent County, 1:88;. Chicago: C.C. Chapman Company, 1881. Ickis, Marguerite. The Standard Book of Quilt Makigg and Collegtim. New York: Dover Publications, Inc., 1959. Lane, Rose Wilder. Hogan’s 231 $05 of flex-19g Neegework. New York: Simon and Schuster, 1963. Lockwood, Sarah M. Anti use. Garden City, New York: Doubleday, Page and Coupaw, 192%. Lord, Priscilla Sawyer and Foley, Daniel J. fig Folk Arts and Crag! of New garland. New York: Chilton Books, 1 5. Iydens, 1.2., Editor. 113,: Stog of Gm Reads. Grand Rapids, Michigan: Krogel Publications, 1 . 1429ng Neegswork bogey, flew York: Random House-McCalls, 196G. HeCosh, Elizabeth. Infidugggg t9 {itchmrln Mills and Boon Ltd., 1961. Marie, Ruby Short. One H re One hwork Patt . Independence, Missouri: Moxie Studios, 1931. hathieson, Elisabeth Laird. The flag swork Library. Cleveland: World Publishing Comparw, 191-99. Ornsbee, Thomas R. fallecgpg Antiques in America. Deerfield Books Inc., 1962. _______. Know Your Heir m . New York: The McBride Comm, 195?. 9’4 Peto, Florence. American Quilts and Coverlets. New York: Chanticleer Press, 1949. Ramsey, 1.5.5., Editor. me Complete Encvclocedia of Antigues. New York: Hawthorn Books Inc., 1968. Robertson, mizabeth Hells. American Quilts. New York City: The Studio Publications Inc., 1943. Sexton, Carlie. Early Lmerican Quilts. Southampton, New York: Cracker Barrel Press, 192’ . 11mins, Alice. Lntroducinq Patchwork. New York: Watson Guptill Publications, 1963. Webster, Harie D. Quilts Their Stet-yin! How to Fake Them. New York: M1. PubliShj-ng (30., 19150 meeler, Candace. Lille Develoment of Embroidery in America. New York: Harper std Brothers, Publishers, 1921. mu. Margaret E. Quilts and Countermnes in the Nob-ark Museum. Newark, New Jersey: 19 . Winchester, Alice, Editor. 111s Antiques Book. New York: A.A. mm Ines. 1950. Egriodicalg M. (May. 1934). p. 169. “Bedspread: a Comparision.” Antgues, (August, 1931:), p. 60. Bowen, Helen. "The Quilting Quest." House Beautiful, January, 1921:, p. 1:3. ”Feathered sm- Quilt." Angus, (October, 1951). p. 333. Perry, Christine. “the Pink of Perfection.“ incl-icon Home, June, 1937' ’0 28o Finley, Ruth B. 'fPatcht-zork Quilts." {louse and Garign, February, 191‘3’ pe 61. Galbraith, Etelka C. "Quilts «a an American Craft." 1,355,133, December. 1935. pe 250 Gareide, Frances. "Patchwork Romance.” [19:13-79 Pgauiifwgu January, 19‘“). P. 2"“ MEAL 39.12351- Jmmrr 11*. 1936. . December 12, 1951:. zeriodicals scant, ) "Heirloom Quilts Bright Accent for Today's Living." American Home, 'OVM‘JBI‘. 1%‘0’ p. 26. Bong, Home. F. "Lets Make a Quilt." Design. , Decanber, 1933, p. 21:. . "Quilts an American Folk Art." 3.5.2531: March, 1934, p. 18. liner-d, Epsie. “House Beautifizl’s Address Book.“ Rouse Beautigg, September, 1969, p. 1&5. Lane, Rose Wilder. "Patchwork." Woman's Dog, April, 1951, p. 36.. laurenoe, Marjorie. “The Revival of an American Craft." American Home, July, 1929, p. 1:86. "Mom Christmas at the Wyatt Gospers." House and Garden, Decanber, 1969. Pe “9e Moxie, Ruby Short. "Here's How to Make Them.” Better Homes and Gardens, February, 1933, p. 18. . "We Quilt tron 01d and New Designs." Better Home! SE Gardens, October, 1931’ Po 35o “Patchwork Americana." Design, May 1953, p. 184. watchman codgz's 1am Book, April, 1850. p. 285. Pete, Florence, "Bedspreadsu-Quilted, Patched and Woven." Antigues, (November, 1939), p. 22.6. . “01d 01111“ Tell a Story." American HomeJL July, 1938, p. 8. . "Quilts and Coverlets." M, (May, 1936), p. 265. Pope, Virginia. "Glamour in Patches.“ m, May 18, 1969. p. 26. "Quilting Designs." 2931a, February, 1938, p. 21. “Quilts.“ Egg, Decanber, 19%, p. l+5. Reels, Lucile r. "Antique Marleen Quilts." w, Decaober, 1960. p.28. Robertson, Elisabeth Wells. “Modern Quilts." beam, Decunber, 193”. po “Se Saulpaugh, Daeseh. "Coverlete and Bedspreads." Hanineaver and ' on Fall, 1966. p. 8. ' 96 Periodicals Scent.) Sheppard, Eugenia. “The Quilting Bee of Sister Parrish." meanls Wear Daily, February 16, 1963, p. 8. ”Superb Table Cover, in.Patchwork.“ Cod *'s Lalrs Book, July'1850, p. 51. tyrell, Emma S. “Quilts of Great Grandmothers Dnyz“ Better Homes and Gardens, January 1931, p. 32. ”Victorian Crazy Quilt of Silk Scrape.“ -cCglls Needlework and Crafts, Ffll‘hfantar' 1939.70. P. 128. W Jun- 5. 1969. p. 25. e AUE’USt 7. 1%9. P. 1“e . Ears}: 28, 1969, p. a. . January 29, 1959. Egggblisheg Eaterials Pledger, Virginia.Lee. “Documentary Survey of Quilts and Quilt Making in the Area of.Athens, Georgia.” Unpublished.Hasters Problem, University of’Georgia, June, 1966. APPENDIX a moon-anon IN THE Demon's 300x GRAND RAPIDS PUBLIC mam: Intonation obtained from the Grand Rapids Public Mueem, November 6, 1969. There is also another book which has the donor's name. There are forty-five quilts in the cases and approximately six:in the display “8.. Casg 1 120210 123053 121390 120211 123535 131270 128382 128383 128710 125821: 1214250 32616 136270 129012 128381: 119483 Case 2 118007 llHMVC 119310 115515 121231 121233 applique, green and red on white ca. 1870 orange design on white 1868 pieced white with blue and red flowers and leaves white and red geometric patchwork nade of some campaign ribbons patchwork patchwork patchwork made of small triangles silk 1840-1900 crazy quilt, 1875 tester bed curtain shite quilted on sewing machine 1870-75 handmade 1810 8 pointed star, diamond quilting white sateen variety patterns in quilting 98 Case 2 jcontgl 123054 123621 123901 1270100 1270“ 130196 133619 9129.1 1207M 122752 125823 138469 139218 128206 120897 125820 125822 125825 126699 136851 1211023 red needlework on white ground each square nade by different women and quilt finally assembled 1870. red and white oakleaf variant ca. 1882 basket design red and white 1890 red design on white red and some green design on white, 8 pointed log cabin red and white variant of cock's comb IBM-1935 quilt wide tan border "Borrow and Return" 1831» crazy, probably child's blanket known by various names in different states patchwork 1895 silk baby's blanket yellow and white, old pieced and tied ca. 1830 crazy log cabin nixed design 1850 quilt top crazy quilt, slumber robe ca. 1890 APPflIDIX B SAI‘IPIE LSTTER 0F INQUIRY IO DONORS CF QUETS Box 535 Grand Haven, Michigan “9&1? February 10 , 1970 Mrs. Robert W, Irwin “61 Fulton E, Grand Rapids, Michigan Dearth-alarm In 1956 you donated a pair of star quilts to on Grand Rapids Public Museum. it the present tine as part of a special project I an studying the pieced quilts in the Museun mile doing graduate work at Michigan State University. Therefore, I would appreciate it if you could answer a few questions for me. Quilts have so many different names. Thus far in the literature I have found that this is called "Le Moyne Star” or "Lanon Star", but wonder if you knew it by another name? Could you tell as me made the top and whether the same person did the quilting? Also, the appromate date of construction and there it was nade would be of interest to my study. Finding quilts in pairs is unusual, therefore, I wonder if it were ads for a special purpose? Thanldmg you in advance for any information you will be able to nail”. Sincerely Patsy Lee Leaders P.3. I an enclosing a self addressed, stamped envelope for your convenience. 101 APMMJIX C SAILPLE CF F8281 83:13) '10 STU}! QULTS Grand Rapids Public Buseun lhmber A, HISTORY: Quilt Pattern: 103 Grand Rapids Public Museum Number A HISTORY t m Historic Si ficanco gz'Whon Constructed Year of Construction Locationgof‘Constructigg Fabric; Signatggg Bugger Design 10“ Grand Rapids Public Museum Number C. CONSTRUCTICE Size of Stitchigg Quilting Whom Pattern Thread Stitches ggw'Edges Coupleted $123 of Battigg Backing Additional 105 APPBIDIX D SHE’IE 0F LETTER 8331‘ T0 MUSEUMS Box 535 Grand Haven, Michigan W17 December 20, 1969 Boston Museum of Fine Arts Boston Massachusetts Dear Sir it the present time I an working on quilts in the Grand Rapids Public Huseun as part of a special proqu while working on aw Master's degree at Michigan State University. merefore, I an wondering if you have any printed infatuation on the quilts in your collection. Also is there an criteria by which you decide whether to accept quilts to your collection! Patsy Lee Leaders 107 APPENDIX E LETTERS 01" REEL-I FROM MUSEWS 1, ,-~r / g‘j‘ifi c, //_//'///(/'// L, )1 I1 ‘4“ A DIEARBORN MICHIGAN December 31, 1969 \hllmm (‘ny lord, Presidcnt M A. Shelley, Executive Director Miss Patsy Lee Leaders Box 535 Grand Haven, Michigan Dear Miss Leaders: At this time there is no printed information available to the public concerning the quilts in the collections of the Henry Ford Museum and Greenfield Village. Quilts and other textile items offered to our museum by gift or sale are judged by the Curator in charge as well as an acquisitions committee of curators and administrators before acceptance. The judgment is based upon the strengths and needs of the existing collec- tions--in other words, we do not generally accept duplicates of articles already here and we try to represent as many different types of 18th and 19th century textile handcraft as possible, drawing upon as many geographical areas as possible in order to demonstrate regional variation. The quilts are generally accessible through me, although only about 10 or 12 are currently displayed in their entirety. If you will write me stating the precise nature of your research, the types of quilts you especially want to see and a date you would Wish to come down I will be happy to assist you in your work. I would be available during the regular work week, Monday through Friday, 9-5. Sincerely, Melinda Y. Frazier ' Curator of Textiles and Costume 109 MP : a Attach: Brochure ’ ~«(//\2//( /‘ imam/z 11117) e. 9/"! (/fli/7/fl// 6’ .1 i February 5, 1970 Miss Patsy Lee Leaders Box 535 Grand Haven, Michigan 49417 Dear Miss Leaders: In reSponse to your recent letter inquiring if there is any criteria which we use in determining whether to accept quilts into our collection, the answer is yes. I have made a listing, which is enclosed, of the criteria which I would use. This, of course, would vary depending upon the curator, and so you must evaluate with this fact in mind. I hope this information will be of assistance to you in your study. ' 4 1 1 ,/ v' , M/t/s ncere y”, 7 fi/ J /{/ ”WW/([2; '11-" 111011183 Ky 1 e / urator Decorative Arts :rd Enclosure 110 .ef Criteria used for accepting quilts for collection in The Newark Museum: 1. Establish under what circumstances the quilt is being offered to the Museum for consideration as an addition to the collection. If it is being offered as a gift, then the considerations will be slightly diff— erent than if it is being offered for sale. For example, a quilt being offered as a gift may not be of first quality or may not be in good enough condition to be exhibited; however, it may be accepted with the understanding that it will be part of the Museum's study collection. 2. Determine the material, age and the place of origin of the object. Does it seem to represent what it should in terms of technique and its quality, age of materials used, and quality of design? Is the condition such that it is worthy of consideration as part of either the permanent or study collection? 3. Determine whether this type of quilt is represented in the existing collection. If it is not represented, will this object be a significant addition to the collection? If it is represented, how does the quilt under consideration measure up in terms of design, technique and condition to what is already in the collection? 4. If the quilt is being offered for sale, is the price what is known as "a fair market price"? -111 .9! -. a ‘I «I\ .e b... .r o... :51 ... .‘I I |