Vintage Flower Baskets

If you are a regular reader of our blog, you know that Kara and I (Teri) love to comb through antique stores, searching for treasures—usually of the textile type. Several months ago, we both found a quilt to add to our collections. Kara's was a crazy quilt, which she wrote about in A Crazy Treasure. Mine was this vintage basket embroidery quilt. Or actually, it is two quilts. Two HALF quilts, to be precise!

When we first encountered this quilt, we picked up one of the pieces to study the embroidered flower baskets, and noted that the quilt seemed to be an odd size. The tag said, "Pair of twin quilts." Clearly, neither one was as big as a twin. Upon closer scrutiny, it appeared that, perhaps, these were two halves of a full-sized quilt! 

Our minds were racing. Why would anyone cut a quilt in half?! What was the story of this quilt? Surely, it has a fascinating one, though we will likely never learn it. But it's price was reasonable, and so it came home with me. The first thing Kara and I did was test our theory to see if indeed it was one quilt in two pieces. 

We tried to arrange it this way, below left, with the rose baskets at the top and bottom, with a simple square in the middle. But there was no way that we could get the outlines of the squares to match, below, right.  We wondered if we had been hasty in our conclusion-jumping.

  

Then we realized that if there were rectangles with two flower baskets on each side, that design would likely continue to the top and bottom. So we flipped the halves to "connect" it between the rose basket squares. And guess what? It was a perfect fit!

The rectangles that create the border of the quilt

Not only does the design match perfectly, but the quilting also matches.

If you flip the edges to look at the back, you can see where the back was pieced, about an inch from the edge of the piece on the left, which might be an unlikely place to piece the backing fabric, although possible in thrifty times.

I searched for this pattern to see what I could find out about it. It reminds me of a kit or printed pattern, as I have seen similarly styled baskets on vintage linens. However, though I was able to find some designs and patterns that were similar, dating around the 1920s–30s, I was unable to find this exact pattern. (If any of you have seen these particular baskets, I'd love for you to share them with me!)

Center basket of roses

Smaller baskets of flowers surrounding the rose basket in the center blocks, and in the border rectangles as well. 

All of these baskets in the center of the quilt have orange flowers, except one—
the upper left corner basket has the coral flowers.

Every time I look at this quilt, I see something new. Because the color changes are subtle, I didn't notice the differences throughout the quilt at first. A few design observations:

• The baskets in the upper center square that surround the rose basket are coral, while the ones in the lower center square are rust. The basket flowers and the individual flowers in those center blocks are orange. 
• The baskets in the border rectangles are usually bright pink. On the sides of the quilt, the basket flowers are typically orange, but the individual flowers are coral. On the top and bottom rectangles, the basket flowers are usually coral, with bright pink individual flowers.
• The embroiderer used three strands of floss throughout the quilt, using these stitches: stem, chain, zigzag chain, lazy daisies, and French knots. The background is a coarsely woven muslin.
• The method of pattern transfer is unclear; I was able to find no markings of any kind beneath the stitches, which makes me doubt that it was a kit.

There are interesting exceptions to each of the design elements above, most likely due to running out of a thread color. It almost looks like the stitcher grabbed whatever color thread was nearest. A few examples are below.

This top corner had pink individual flowers, but the pink floss must have been "misplaced": after a few petals in pink, left of basket, she switched to the rust color for those little flower bunches.

Here, however, all the petals are coral, except for five pink petals.

On this border basket, the pink basket was combined with rust.

And this is the only border basket with a rust basket. And BOTH orange and coral flowers!

And one more point to note: did your eagle eyes detect a difference in the color of the backgrounds? One is a bit brighter white than the other, and the dingier half has quite a few stains on it (see photo above.) Clearly, one half of the quilt was used more than the other, if that one was even used at all.

The half on the right is clearly brighter white.

There is so much to see in this quilt, and so many clues to its story. It is a relatively simple design, yet clearly a lot of work and love was put into these stitches. The embroidery and hand quilting are consistent and skilled. But . . .

why would anyone ever cut a quilt in half?!?!?!?

I'm going to leave you hanging. (Sorry! Sort of...) Please stop back tomorrow, and we will share a few of our thoughts, and ask for some of your ideas. 

See you tomorrow! 👋

Midnight in the Garden of the Quilt—An Exhibit Curated by Polly Mello

You know how the best intentions are worth nothing if they are never acted upon? Well, this post is one of those plans that never came to fruition. In the fall, my husband and I (Teri) visited the Virginia Quilt Museum to see the fabulous display by Polly Mello, a fellow member of the Baltimore Appliqué Society. She graciously gave me permission to share her exhibit back in the fall, but here we are six months later, and I am FINALLY posting!

(Please note, per the museum's website: Permission to copy any of the quilt designs or patterns seen on exhibit must be obtained by the original designer or copyright owner.)

Polly is an avid quilt collector and historian, who has an interest in the "dark side of quilting," and she owns an impressive collection that reflects that passion. 

 In Polly's own words, printed on the exhibit description, left:

“This is the infamous collection of macabre quilts and ephemera from the collection of Polly Mello. We are shining a light into the dark cobweb covered corners of quilting. It is Midnight in the Garden of quilts so prepare yourself to walk down the eldritch path where you will see Mourning quilts, Coffin Drapes, quilts of Presidential Assassination. There are Critter quilts and Quilts from the Headlines and the always favorite ‘Creepy Crib Quilts.’

When I am dead and in my grave

And all my bones are rotten.

When this you see remember me

That I'll not be forgotten."

According to Polly, there are a number of symbols that were used in quilts to indicate mourning: weeping willows, mourning doves, tombstones, angels, urns, and broken flower stems (representing a life that was “cut short”). Study these examples, below, of antique needlework to see if you can locate any of the symbols of mourning—appliquéd, embroidered, or even woven into a coverlet. Polly states that mourning embroideries were a part of the needlework instruction that young girls received, and they became popular in the time following the death of George Washington; often such symbols were incorporated in quilts as well. 

Folk Art Album Quilt, ca.1870

Glory Be to God Mourning Quilt, ca. 1910

Angels Sing Thee to Thy Rest, ca.1886—may have been used as coffin drape for a child

Mourning Sampler, made by Mary Ellen Smith, age 12, ca.1870

Mercy Hill Coverlet, made by J. Wirick, 1852

Broken Blossom Quilt Top, ca. 1850

Detail: broken stem quilt block

Sampler Coffin Drape, ca.1860

Not only did stitchers use their needlework and quilts to memorialize loved ones who had died, but one also finds historical events recorded on quilts. Patterns were designed to pay tribute to Presidents who were assassinated—McKinley and Garfield, particularly, but you will see that Lincoln is pictured on the McKinley quilt as well. Other historic events were commemorated in stitching: the sinking Titanic, Halley’s Comet, and the Lindbergh kidnapping. 

I confess that I was a bit surprised that some of these topics would the subject of all that needlework—a true testament to the importance that these events must have had in their day. But I am reminded of the many quilts that I have seen following the 9/11 attacks. Obviously, we quilters use our needle skills to help us process our grief about tragic events, as well as to create reminders of the events themselves. Every quilt tells a story; sometimes that story involves national or world history. 

Garfield Monument Quilt, ca.1890

McKinley Redwork, Our Martyred Presidents, ca.1901; redwork pattern commemorating the President's assassination

Detail, block from McKinley Redwork, Our Martyred Presidents

Titanic. Nearer My God to Thee, Sinking April 14, 1918, Loss of Life 1,635 Souls

Celestial Terror, Halley's Comet Quilt, ca.1910

Detail: Celestial Terror, "Earth and Moon cringe as the comet passes by."

Lindbergh Kidnapping Quilt, ca. 1935, one of three known quilts to portray this crime

Polly loves all kinds of creepy critters, especially snakes. I, on the other hand, have a bit of a phobia of those slithery serpents, but I forced myself to engage with the plethora of snaky quilts. (If I pretended they were just lovely patterns and concentrated on the color and design, I was okay.) Polly does have quite an impressive number of quilts representing these long, thin reptiles, and they come in quite a variety of designs, though she declares that she is pretty picky about choosing designs that are clearly “snaky.” Even I was fascinated with the variety of patterns involving snakes. Use your imagination and see if you can spot all those serpents.

Left: Snake Trail, ca. 1940; Right: Fort Worth Rattlesnake, ca. 1900 

Oklahoma Snake Ring, ca. 1930, with over 7000 tiny pieces 

Tree of Life Panel, ca.1930. Polly loves the mongoose and cobra border.

Snakes with Tails, ca. 1930

Dimensional Rattlesnake, made by Catherine Wooten, ca. 2000

"De-tail" of Dimensional Rattlesnake, made by Catherine Wooten

The Pied Piper

Perhaps it is because I have a penchant for quilts about stories, but my favorite section of Polly’s collection was the “Creepy Crib Quilts,” all of which were made around 1930. At first glance, the quilts all looked rather charming and dear, with their lovely appliquéd and embroidered designs in pastel colors. But upon closer scrutiny—and perusal of Polly’s descriptions—it was evident that the subject matter was often not what we would consider baby-appropriate today. We have the Pied Piper leading all the village children away forever, except for one crippled boy who couldn’t keep up; a Bible Quilt with pictures of some rather violent scenes, such as Cain killing Abel; . . .  

Detail of The Bible Quilt: Cain killing Abel

The Bible Quilt

. . . a cradle tied to a tree branch that breaks, sending the cradle crashing to the ground; and the two Babes in the Woods, who are taken and left in the woods to die, where robins cover them with strawberry leaves. 

Rock-a-Bye Baby

Babes in the Woods

Polly points out that Noah’s Ark, a popular nursery theme, is the story of “God punishing the wicked world with annihilation by water;” furthermore, she questions the fascination of others’ misfortunes in Jack and Jill—one of the most prevalent themes in children’s quilts—stating that “Poor Jack gets a concussion and launches hundreds of quilts.” 

Noah's Ark

Jack and Jill

Finally, there is the quilt about a mischievous boy who tries to drown a cat in a well, and Ring Around the Roses, which is about the Black Plague that killed a quarter of the European population in the 14^th century. I find it intriguing that we still tell those stories and rhymes, trying to make them pretty and sweet, thereby losing the original impact—and possible lessons—of the actual stories. 

Ring Around the Rosies

Pussy's in the Well

Interspersed throughout the exhibit were contemporary quilts that Polly herself had made—some for grandchildren, some which won awards, but all that reflect Polly’s multi-faceted personality. If you are picturing creepy crawly critters, skeletons, deathly themes, a bit of Texas and a bit of Maryland, colorful, appliqué, and fun—you would be right on target! Polly even has a quilted a graveyard with many of her quilting friends, where they will all be “buried.” 

    

Buster the Cat Loves Halloween, ca. 2006, made by Polly Mello

Star-Spangled Calendar Quilt, Lisa Schiller Pattern, ca. 2006, made by Polly Mello

Skulking Around Modern Gothic Quilt, ca. 2009, made by Polly Mello

Deep Within My Heart Lies a Melody, A Memory of Texas, ca. 2011, made by Polly Mello

Paradise Lost and Found, Civil War Era Reproduction, ca. 2014, made by Polly Mello

Grashlycrumb Tinies, ca. 2016, made by Polly Mello

Kentucky Requiem. A Quilter's Gathering, Reproduction of the Kennedy Graveyard Quilt, ca.2014; Polly Mello, Mimi Dietrich, Faye Labanaris, Hazel Carter, Kathy Siuta, Vera Hall, Jeanne Sullivan, Barbara Garrett, Ilona Hull, Sue Troyan, Barbara Laskowski

My husband and I learned a great deal about the use of textiles for mourning purposes throughout our nation’s history. We were captivated by the work that was represented in this eclectic collection, and it was fun to search the quilts for the symbols throughout the exhibit. I was left to ponder how very different our symbolic language looks today than it did hundreds of years ago. That in itself is a cherished representation of history in these quilts, coverlets, and samplers.  Many thanks to Polly for allowing us to share her exhibit with you!

The next symposium scheduled at the Virginia Quilt Museum is "Friction, Fray, and Fabric: Textiles in the First World War," to be held from July 27-29. The museum is currently closed as they prepare the new exhibits, which change quarterly. Check their website for more info.