Thursday, February 2, 2017

Maggie Shaw and the Modern Singer Way

Maggie Griffin was the second eldest of nine children and her father died when Maggie was thirteen.  Maggie married Benjamin Shaw and had five children of her own.  The births of Maggie's children were spread over nineteen years; when Maggie made this quilt block her eldest daughter Mabel was celebrating her first wedding anniversary and her youngest daughter Agnes was just three years old.

Maggie Shaw, like the other women in Malaga, would have spent much of her time at home on the sewing machine.  Singer Sewing machines were at the top end of the market but faced fierce competition from the 'home brands' of the mail order companies like Montgomery Wards and Sears.  The majority of sewing machines manufactured in the 1920s were treadle or hand crank models but electric motors could be added later.

Maggie may have had the little book "How to Make Children's Clothes the Modern Singer Way" (1930 edition, 25 cents).  If she did she would have pondered on the following "practical instruction and valuable suggestions ready for instant use."

“This book is designed to make sewing for children easy, to make the work interesting, and to encourage those who sew for children to appreciate the importance of correct and becoming attire, thus helping in a silent way to build a foundation of good taste and a sense of fitness for the child that will later prove an asset, economically and socially.

“Authorities disagree on the quantity of garments necessary for a baby’s layette, but all agree that beautiful cleanness is absolutely necessary.  Therefore it is better to have plainer and less expensive garments, but to have enough to make immaculateness certain.

“There are a few times in the year when a new dress seems a necessity.  The first day of school is one.  Children bounce off to school with alacrity when their clothes are new and in keeping with the occasion.  Mothers too are filled with satisfaction and pride in knowing that their little folks are correctly attired.

“Play clothes should be provided so that the school clothes may be taken off and kept in good condition.  Mothers can protect themselves and their children by making a plan and interesting their children in adhering to it; that is, to have certain outfits for school and others for play, that they may always be dressed correctly for both.

“Plaited (pleated) skirts, which have been popular for a quarter of a century for school girls, will undoubtedly continue so for a very long period of time, because plaited skirts seem to be absolutely in keeping with the jauntiness that is associated with a girl of school age.

“Party dresses are never in good taste in the classroom.  In this age of democracy no girl desires to show by her clothes that she is in a better financial condition than her schoolmates.  That in itself is considered bad taste.

"If you would know the full enjoyment of making lovely curtains and draperies for you home, as well as clothes for yourself and the children, make them on a Singer Electric.  It will be a surprising new experience.  Both hands are free, both feet at ease.  Merely press the speed control, gently or firmly, and sew at any speed.  Perfect, even stitching flows like magic.  There is no thought of effort on your part, for hidden power is doing all the work.  And in a short time your machine will have paid for itself through the many economies of home sewing."

Saturday, January 21, 2017

Bowties Are Cool

Nellie Sellar's block is a Bow Tie pattern.

I like almost all pieced blocks, but Bow Tie is not a favourite.  That diagonal square for the bow tie knot?  All the other pieces have to be set in around it.  It takes a long time to get it right and mine never quite lay flat when I'm finished.

I went to Carrie Hall's "The Romance of the Patchwork Quilt in America" (1935) to find a Bow Tie.  It wasn't listed in the index so I searched through the black and white plates to see if I could find it.  I did find it in Plate XVI - Hall calls it Necktie.  Her description is of the pattern is not especially helpful.

"This shows that the Colonial women were very considerate of the men-folk of their families."

I'm not quite sure what that statement means.  The photo of the block in the book is 1/2 inch square so I went online to find a better picture.
In 1938 Carrie Hall donated all her quilt blocks to the Spencer Museum of Art in Kansas, and the museum has the whole collection available for online viewing.

There are two Necktie blocks in the Hall collection.  This is the first one.

Now have a look at the second one.

No centre square, just corner triangles!  If it worked for Carrie Hall it works for me.

My block is 9 inches.  I cut squares at 2.75 inches.  The corner triangles are stitch and flip, I cut them at 1.75 inches square, sewed along the diagonal onto a white square, flipped and trimmed.

Turning the bowtie blocks create a range of settings.  If you check the Facebook page this week I will attempt to share a different layout every day.

Saturday, January 14, 2017

Coming to America

Nellie Sellar's life is an example of the 20th century migration to the United States from the Old World as well as the internal migration towards the West Coast.

James Sellar and his sisters Joan and Barbara emigrated from Scotland to the USA in 1907 to seek their fortunes.  The siblings settled in Chicago, Illinois.  In the 1910 census James was a plasterer and both sisters were working as quiltmakers.

The USA was a sought-after destination for many hopeful immigrants in the early 20th century.  Just a few pages of the 1930 census for Chicago recorded residents and their parents being born in Australia, Austria, Canada, Denmark, Egypt, England, Germany, Greece, Holland, Ireland, Italy, Madera Island, Norway, Poland, Scotland and Switzerland.

James returned to Scotland and married his childhood sweetheart Nellie.  Their first son James was born in Scotland before the family returned to Chicago on the SS Columbia.

James Junior was joined by sisters Helen and Elspeth; surprisingly, twelve years later, brother George was born.

The Sellar family left Chicago and traveled West to Wenatchee, Chelan County, Washington.  The majority of people living in Wenatchee had been born in the USA but not in the state of Washington - Wenatchee was a place people moved to from somewhere else.  Three pages of the 1930 census lists 27 different states as birthplace of the individual or their parents.

George Sellar was Nellie's fourth child, born when Nellie was 38.  George's arrival may not have been planned but his life was not insignificant; in 1971 he became Senator George Sellar and he served his community well until his death in 2000.  The highway bridge between Wenatchee and East Wenatchee was renamed the Senator George Sellar Bridge in his honor. 

Nellie would have been very proud.

Friday, January 6, 2017

Looking for the Goose

Gussie Herr's block is made from the traditional building blocks of patchwork - hourglass, flying geese and half square triangles.

I began the search through BlockBase to find a name for this block.  It always takes a while when you don't have a name to start with.  I was surprised when I found the closest match.

This block is Brown Goose.  It doesn't look like Gussie's block until you realise the only difference it the corner half square triangles which have been reversed.  That's why I love the traditional patterns, basic blocks are used to build up a multitude of different pieced patchwork blocks.

Brown Goose isn't the only name for this block.  It is also known as Gray Goose, Double Z, Devil's Claws, Framed X, Old Gray Goose, Old Maid's Puzzle and Ribbons. 

Ruth Finley says,

"While not particularly attractive, this pattern was widely used for every-day quilts .... because it was easy to piece"

Same block, different orientation.  This one was made entirely of half square triangles, reverse the top and bottom to get the Brown Goose.

This one is almost a goose, it needs some corners.  I wonder what happened.  Did she run out of material? Did it fall down behind the sofa and never finished? Maybe the maker was relieving the boredom of pregnancy, and once the labour pains started patchwork was forgotten ....

Thursday, December 29, 2016

Gussie Herr and the Quilting Church

Gussie Herr worked as a seasonal worker in the fruit packing shed when it was harvest time.  Her husband Clemens was a farmer and cabinet maker, and their three children still lived at home; George was a timber worker, Elizabeth a stenographer and Marie was still at school.

Gussie and Clemens

Gussie was an active member of her church, the First Christian Church in Camas, Washington.  She had a long association with her church - Gussie lived to 103!  Her obituary reads, "She was very active in her church and was loved by all until the day the Lord took her home."  I found Gussie's obituary at one of the genealogists' favourite websites:  Usually a hit brings up photos of tombstones, but this time there were photos of Gussie Herr herself.

Christian Church, Camus, Washington 1911

Quilting was often a group activity in the first decades of the 20th century.  In remote communities the church and the quilting bee were the only opportunities for women to meet and socialize.  In the 1930s signature quilts were till popular as fundraisers for church building programs, or as a presentation to a retiring minister or Sunday school teacher.

Church fundraising quilt made by members of the 
Grace Evangelical Lutheran Church,
Allentown, Pennsylvania. Dated between 1934 and 1937

Detail of the Grace Evangelical quilt.  Individuals paid a small amount to have their name embroidered, and further funds were made when the quilt was raffled.

Some church associated groups earned funds by hand quilting tops made by others, the cost being calculated by the size of the quilt, the complexity of the pattern or the number of spools of thread used in the quilting.

Was the Malaga quilt a church project? It doesn't appear to be.  The quilt owner Lena Wallace was a member of the Malaga Christian Church, and the Malaga Homemakers were a church ladies group known for their quiltmaking activities. But the women in the Malaga quilt come from a number of different churches; one was married by a Catholic priest and yet another was Jewish.  Belonging to a church was important to many of the women, but they didn't all attend the same congregation.

Wednesday, December 21, 2016

Mrs. Mead and a Postage Stamp Basket

Sorry for the delay in posting; the next participant in the 1937 Malaga quilt is Onie Mead.  Onie wasn't a farmer's wife like most of the other Malaga women.  Ray Mead was a school janitor until the Depression years, then he had some work as a laborer with the Works Progress Association. Onie and Ray weren't as well off as some of the other families.

Onie made the same Cactus Basket black as Sarah Cannon.  So, I've chosen another basket block from the 1930s to show you. This orphan is from my collection:

This block can be May Basket, Baby Basket or just Basket. I made a six inch one.

This Basket Block may look familiar even to non-quilters.

These stamps were released in 1978; and I imagine the next block was made about the same time.

Freeda Adams  Philadelphia, PA.

If you were a patchworker in the USA during the Bi-Centennial, did you make blocks like this one?

Friday, December 2, 2016

Weathervane and Vive Ste Anne

The Weathervane block was popular with Lena's friends, there are three Weathervane blocks in the Malaga quilt.

The block is a nine patch.  For a 9 inch block the centre is 3 inches.  The half square triangles in the corners finish at 1.5 inches.  Quilter's Cache has instructions for a 12 inch block.

Weathervane is too fiddly to make as a six inch block: I am going to choose a different pattern for a six inch block, probably Sawtooth. 

I went to an antiques fair last weekend.  Old quilts don't appear at antique fairs in Australia but I did find some postcards.

These French postcards are for St. Anne's day, the patron saint of seamstresses.  The messages - in French - on the cards are wishes for good health and good fortune.  The lady on the right is using her treadle with high heels, and the lady on the left is very distracted - can you see a lace garter hanging on the treadle stand?  These cards aren't rare, Google 'Saint Anne sewing machine postcards' and you will find dozens.  I found these ladies again but in different poses.

Do you have any St. Anne postcards?  Are they all French?  Would you send one to your mother?

Friday, November 18, 2016

The Story Continues - Gladys Hill

These are my blocks so far.

The top left hand corner is Weathervane, which is the block Gladys Hill made in 1937.

Gladys Horn was a school teacher when she married Leo Hill, a rancher at Spokane, Washington.  Gladys and Leo were each twenty-nine years old.  It was Gladys' first marriage but Leo was a widower.  His previous wife Ethel died shortly before their third wedding anniversary.  Ethel was also Gladys' older sister.

In 1937 Leo and Gladys had four children, two boys in high school and two girls in elementary school.  Five years later Gladys still had her two girls at home but her boys, now young men, were serving their country while the whole world was at war.

Germany invaded Poland in September 1939, Denmark in April 1940 and then advanced on Belgium, Netherlands and France.  The Allied forces were evacuated from the beaches of Dunkirk in June 1940.  Bombs were falling on London in September 1940.

The United States began to strengthen its own defences and focused on manufacturing and farm production.  The increase in defence spending picked up the economy as a whole after the ravages of the depression years.  In the autumn of 1940 the Selective Services Act required all American men between the ages of 21 and 35 to register for the draft.

Pearl Harbor was bombed on 9 December 1941.  2400 sailors, soldiers and civilians were killed.  The U.S. declared war on Japan and the European Axis forces declared was on the United States.

The draft now expanded to include males from 18 to 45.  Gladys' boys were 19 and 18; the elder joinded the Navy and the younger enlisted in the Army.

 Leo's ranch was working overtime.  Farm prices rose in 1940 and 1941 but labor costs rose too.  The ship building yards in Portland, Oregon and the aircraft factories in Seattle, Washington paid top wages, and the canneries and lumberyards of the Pacific Northwest couldn't compete over pay.  Gladys and the girls had to work on the ranch to keep up with the demand for their beef.

Women and students were encouraged to join for the Women's Land Army and work in agriculture.

Fortunately for the Hill family, both boys came home, both girls grew up, and Gladys and Leo enjoyed their grandchildren and each other.

Friday, November 11, 2016

Friends, Please Bring a Dresden Plate

Dresden Plate is the most familiar name for this block but other traditional names are Aster, Friendship Ring and Sunflower.

The pattern wasn't well known until the late 1920s.  Ruby McKim calls it Friendship Ring.  Her pattern has twenty petals and she suggests a quilt border of individual petals.  It is a Friendship Ring because 'one usually has to call upon many friends for a proper assortment' of different patterned materials.

This is a 12 inch block.  I traced the petals onto washaway applique sheets, ironed each petal onto the fabric and hand stitched like English paper piecing.  The washaway will soften with washing (the package says).

This is a 6 inch block with five petals in each corner.  My inspiration was from a 1930s signature quilt made in Ohio.

The Ohio quilt has a Dresden plate block in each corner and proves that you can have as many petals as you like.

12 Pointy Petals

15 Feedsack Petals

16 Circular Petals

17 Dressmaking Scraps

More information on the Dresden Plate block history can be found at:

Monday, October 31, 2016

Nina Elliott School Teacher

Are you ready for another chapter?  Good, so am I. 

Not all women in the 1930s were stay at home housewives.  The Malaga quilt makers were teachers, bookkeepers, fruit packers, factory workers, a milliner and farmers.

Nina Elliott ~ Dresden Plate

Nina May Elliott was a school teacher when she made her Dresden Plate quilt block.  Nina was single of course - married women didn't teach school.  Nina had a three year college degree, probably from a teachers' college.  Teaching and nursing were two areas in which women were encouraged to participate.  Nina taught at a number of schools and shared a house with another female teacher.

Nina's mother Mildred Love Elliott was also a teacher.  Mildred's mother and stepfather took the family to stake a homestead claim in Del Rio, Washington.  In the 1900 census Mildred was 18 years old and teaching, most likely in a one room school.  No tertiary qualifications were needed for Mildred, she would have gone straight into a teaching job after finishing school - some of her students would be almost as old as she was.  The school opened one term at a time when the parents could afford the teacher's salary.  Miss Love might have boarded with a school family or may have had her own teacher's residence.

School teacher’s cabin in Marlboro, Alberta, Canada, 1930.
Photo legacy of Helen A. Dineen, Wikimedia Commons

Nina Elliott left the teaching profession at the age of 28 to marry Merton Love, her mother Mildred's cousin.  Merton was a hardware salesman, twenty years Nina's senior and had been widowed for five years.  Nina became stepmother to Merton's two teenage children and had two more children of her own.  Nina didn't enjoy good health and died in 1953 at the age of 41.

Mildred Elliott survived her daughter Nina.  Mildred resumed teaching while here children were at high school.  Mildred must have returned to study; in the 1940 census she has completer five years of tertiary education - perhaps she had her master's degree in education?  Mildred outlived her daughter Nina by 28 years and survived to celebrate her 100th birthday.

Postscript: Most of the women from the Malaga quilt were born in the USA but their parents were immigrants.  Nina Elliott is an exception, at least on her mother's side of the family.  Nina's g-g-g-g-grandfather Robert Love enlisted with the Rhode Island troops as a sergeant in 1777.

Thursday, October 20, 2016

Meet the Album Family

Maude Laughlin chose the pattern Album Block for her contribution to the Malaga quilt.

In "The Romance of the Patchwork Quilt" Carrie Hall calls this Album Patch.
The original idea of the Album quilt was a gift for a bride-to-be.  A group of friends would get together and each would piece a block and embroider her name upon it.

Carrie Hall's Album block, Spencer Museum of Art, University of Kansas

Other names for this block are Arbor Window, Courthouse Square, The Crosspatch and Odd Fellow's Block.  Barbara Brackman's blog post has a good collection of Album block quilts.

It's a simple block to make but a challenge to get to the finished size that you require.  I had to make a few to get a 9 inch and a 6 inch block I was happy with.  The difficulty is the points at the seam allowance - you don't want to lose them when the blocks go together.

1880's orphan - points finish right at the edge

For a 9 inch block I cut the squares at 2.5 inches.  The setting triangles are 5 inch squares cut diagonally twice, and the corner triangles are 3.5 inch square cut diagonally once.

 Assemble the pieces in rows including the setting triangles, then add the corner triangles.  Trim to 9.5 inches and the squares should all keep their points.

This similar block is Nine Patch Checkerboard (Checkerboard, Old Mail, The Queen's Favorite).  I don't like cutting 7/8th or 15/16th, I like more sensible fractions, so I made the squares smaller and the setting triangles larger.  For a finished 6 inch block, the squares are 1.75 inches, the setting triangles are 4 inch squares cut diagonally twice and the corner triangles are 3 inch square cut diagonally once.  The block will have a wide margin and I think that suits the 1930s look.