Monday, August 24, 2020

The Bird Trap Quilt - May be New to Me, But Has Been Around Since the 1870s

 

The Bird Trap Quilt – May be new to me, but has been around since the 1870s

While doing my browsing of quilt articles on Chronicling America, I found a full page article from 1906 that showed a woman with a quilt on her lap with many different block patterns listed.

“Many Old Patterns - Among the designs in which the patchwork pieces were placed in the quilt were rising sun, goose chase, three-pieced rhomboid, honeycombed hexagons, Star of Bethlehem, diamond and cube, winding blade, trap and nine patch, Philadelphia pavement; oakleaf and orange, flower vase, willow chair, cravat, basket of fruit, plain basket, swallow at the window, nine patch, ocean wave, whig rose, king's diamond, six-pointed star, double swallow, evening star, daisy bird-trap (usually with log cabin alternate patches), sunlight and shadow, friendship center, devil's wall, star and circle, star and compass and Roman stripe.”

I was familiar with most of them, but had never heard of a “bird trap” design and that piqued my interest, especially since it was mentioned with log cabins – one of my favorites in quilt research.

I have done quite a bit of gathering of log cabin mentions, pattern mentions and fair premium awards given for quilts using the log cabin design. One of these days I will post about it.

In the meantime, while researching the quilt pattern called “Bird Trap” I found several references to the quilt pattern in folklore sources. In the 1933 article Quilt Names in the Ozarks by Vance Randolph and Isabel Spradley, the pattern is mentioned along with some 250 quilt patterns described to them.

“Some quilts have geometrical names, or other names ... , Blue Bird, Bird Trap, Bird's Nest, Bird in a Tree ... Rider, Square Log Cabin, Spool Bed, Pickle…”

In 1978, Sally E. Weatherford wrote about a quiltmaker Nellie Virege (aka Verge) from Murfressboso, Tennessee in the Tennessee Folklore Society Bulletin, where she gives this description, along with an illustration of the “Bird Trap” design. (More on Nellie later.)

“The “Bird Trap” (illustration #1) is an individual block or square. Of the quilts viewed, several were in this pattern. Each block is different both in makeup and colors, but the general pattern is the same. The entire quilt s pieced of this same block design. A small inside square is banded with strips pf alternating colors which forms the “Bird Trap.” The pattern itself is quite similar to one found in several quilt books and referred to as “log Cabin,” in which a small square is banded in strips. With the “Log Cabin,” however, light and dark strips are arranged in a manner so that the completed block has an overall pattern as well as the individual patterns of the blocks. These overall designs may appear has horizontal zigzags, diagonal stripes or concentric diamonds, among others. The “Bird Trap” does not use this arrangement of light and dark. The block illustrated is executed in blue, red, white, and brown and white checked strips surrounding a green center square.”

On the web site Folklife in Louisiana (www.louisianafolklife.org), an interview by Susan Garrett Davis in the Quilting section, of two quilters Turlie Richardson and Lillie Payton, the Felicianas – “Lilly Payton only recalled the name of one of the patterns she used, a "Bird's Trap," which resembled the traditional log cabin pattern.”


Pecolia Warner, 1983 WCA (Woman’s Caucus for Art) honor award recipient, bio indicates “The artist’s designs spring from many levels of her experience. Some of her quilts have been inspired by memories of her mother’s quilts, by dreams, by introspection, by patterns seen in books, by household objects or by things remembered from her life in farming. Designs she calls “Pigpen” and “Bird Trap” reflect her memories of objects she watched her brother build as a child. … Two of her better known quilts she pieced from blocks containing the letter “P” – as in Pecolia.”

Most recently, in 2013 blogger Sophie showed her version of a “Bird Trap” quilt. She was inspired by a “Bird Trap” quilt she saw in the Belger Arts Center collection.

These are the more recent, i.e. after 1900 mentions of the “Bird Trap” quilt patterns, but what about the 1800s? I was on a quest and found several mentions in the 1870s along with several interesting images of bird traps by with twigs.

What About the 1800s?
At the October 1871 Giles County Fair in Tennessee, in the Floral Hall “A satin and velvet quilt made by an old lady in Gallatin in 1868, compelled the praises of all. It was an elegant hexagonal, put together with hexagons and diamonds, lined with silk, bound with satin and edged with cords, which cords terminated at each end into two rich tassels. There was also a bird-trap quilt, made of silk that was greatly admired.”

Later, at the West Tennessee Agricultural and Mechanical Association Fair in Jackson, Tennessee, the Floral Hall had quilts. “The quilts and counterpanes on exhibition showed considerable ingenuity and skill. One of the latter made of silk of the bird trap pattern, had 10,200 pieces in it, a monument to the patience and industry of the maker.

In the Dalton of North Georgia Fair Association, Fourth Annual Fair held in October 1873, Mrs. Thomas A. Harris entered two quilts, a silk bird trap and a worsted log cabin.

“QUILTS, COVERLETS AND SPREADS. Mrs. ME Harkins’ quilt attracted universal attention; while it is showy it is not dashy. Miss Euphine Higgins has one that was made of 5,500 pieces. Mrs. C.C. Fulsome one of the Rock Mountain patterns. Mrs. Thomas A. Harris a silk quilt of the bird trap pattern; also, a worsted one of the log cabin pattern. While these were all beautiful, and attracted marked attention, the diamond figured quilt made by Miss Celeste Conner, aged twelve years, (a grand-daughter of Judge Towns,) was the one which all examined. The sprightly Miss received many honest compliments and she deserved them all.”

Theft of Bird Trap Quilt – More than one?
Yes, I found two references of “Bird Trap” Quilts being stolen. The first one was in Danville, Kentucky, in 1876 according to the Kentucky Advocate, May 5, 1876. There were a rash of robberies, and a quilt was stolen.

“The neighborhood between Perryville and Nevada seems to be infested by one or more thieves, who are becoming quite daring, and which will probably end in someone getting into business. The houses of Peter Hamilton and Mrs. Peach, were robbed some time back. A short time since, Wm. Moss’ was entered and a lot of things taken. Last Sunday seek, while Squire J.C. Barkley and family were away from home, entrance was obtained, his papers searched, it is supposed for money, and carried away a few things. On last Thursday, during the absence of the family, the residence of Chas. Gray was entered, a table drawer broken open and a pocket-book containing forty dollars were found, but in searching the pocket-book a ten-dollar bill was found that the thief had overlooked, making Mr. Gray’s loss in money about $30. There was also taken a worsted quilt, black and red, of the log-cabin or bird-trap design, with blue buttons sprinkled over it. We hope that everyone seeing this notice will be on the look-out for the quilt, -- as the finding of it may lead to the detection of the thief.”

The second mention of a stolen Bird Trap Quilt was reported in The Tennessean on February 19, 1897.

“INTERESTING CASE. Eva Smith Found Not Guilty of Stealing a Quilt. A very interesting case was heard yesterday afternoon by Justice Jake Levine, at his office on North Cherry street. It was that of Eva Smith, colored, alias Jane Smith, who was prosecuted by Albert White for the larceny of a quilt. Albert White was rooming in the house of the defendant, and claims that when he went to his new lodging house he carried eight quilts, among which was a "bird-trap" one. He said he folded and packed all eight of the quilts between the mattresses of his bed. He then went off for a few weeks, and upon his return, claims he found the "bird-trap" quilt missing. One of his witnesses, a woman, claimed that Eva Smith hid it in a straw mattress, but the house was searched in vain by a Constable. The case was dismissed on this evidence, and the prosecutor taxed with the costs.”

Log Cabin Blocks Have Light and Dark Sides – Except One
Most of the log pattern quilt designs dictate that there should be a dark side and a light side, save for one. In the 1884 booklet by the Patten Publishing Company called How to Make the Home Beautiful says that “Shading may be done in a variety of ways – diagonally or straight across, or there may be no shading attempted, but the colors placed hit or miss, which makes a really pretty patchwork when it is not convenient to have colors enough to handsomely shade a quilt.”

This design option was what quilters Nellie Verge, Pecolia Warner and Sophie from Block Lotto used to make their “Bird Trap” quilts.

Actual Bird Traps
In Pecolia Warner’s bio, she mentions she was inspired by her brother building a “Bird Trap” when she was younger. It got me thinking as to what a bird trap looked like. I found some good images in W. Hamilton Gibson book on Camp life in the Woods.

“The Coop Trap. …the first thing to be done is to cut four stout twigs about an inch in thickness and fifteen inches in length and tie them together at the corners,…This forms the base of the coop. Next collect from a number of twigs of about the same thickness, and from them select two more corresponding in length to the bottom pieces. … proceed to lay the two selected sticks across the ends of the uppermost two of the square, and directly above the lower two. Another pair of twigs exactly similar in size should then be cut and laid across the ends of the last two, and directly above the second set of the bottom portion, thus forming two squares of equal size, one directly over the other. The next pair of sticks should be a trifle shorter than the previous ones and should be placed a little inside the square. Let the next two be of the same size as the last and also rest a little inside of those beneath them, thus forming the commencement of the conical shape which our engraving presents. By thus continuing alternate layers of the two sticks cob-house fashion, each layer being closer than the one previous, the pyramid will be easily and quickly formed.… proceed to build up the sides until the opening at the top is reduced to only four or five inches across. The square board will now come into play.

This description pretty much describes the quilt pattern used by Mrs. Nellie Verge. You can see an actual bird trap made using this method done by Christopher Nyerges. He calls it the Arapuca bird trap, and ancient and primitive method for capturing birds.

I also found an etching done by German artist Konrad Grob, where an older gentleman is constructing a bird-trap while two youngsters watch intently. The steel engraving was printed in the August 1879 volume of the Art Journal of London.

Now back to Nellie Virge (Verge)
The Tennessee Folklore Society Bulletin was the only place I could find an illustration and description of what a “Bird Trap” quilt looked like. There were many descriptions and illustrations of log cabin quilts from the mid-1870s, and mentions as early as 1862. In the early 1870 references there was a distinction made between log cabins and bird trap designs, and that was evident in the 1906 article.

I was lucky enough to get a copy of the 1978 Profile of a Murfreesboro Quiltmaker and Her Craft article by Sally E. Weatherford. I was fascinated by the quilter Mrs. Nellie Virge, age 96 when her story was written and decided to do a bit of research on her. Her parents were Jim and Sophia Humes of Mooresville, Alabama. In 1989, Nellie Verge passed at the ripe old age of 107 (See Age Note). Right there, the story was similar, but the spelling of the name was a bit different. It turns out the spelling changed back and forth on several documents before finally resting on Verge.

At the time of Nellie’s death, February 14, 1989 she was survived by 4 sons and 3 daughters, 40 grandchildren, 75 great-grandchildren and 21 great-great grandchildren and is buried in Stones River Cemetery, Murfreesboro, Tennessee. She was born to freed slaves and was one of 10 children (her youngest sibling was actually a granddaughter to her parents per 1920 census). At age 19 she married a sharecropper named Athey Verge. Her husband passed in 1959 and Nellie, being retired, and having a good supply of fabric from her sons who worked at a factory in Murfreesboro, began quilting as a hobby.

On March 5, 1989 following her death, Kelly Anderson, News Journal Lifestyles Writer penned a tribute to Nellie with the help of two of her daughters, Mrs. McGowan and Irean Hughes. I want to share her story with you.

Sunday, March 5, 1989, Murfreesboro, Tenn; LIFESTYLE, Sunday News Journal
Nellie Verge: 107 years of good material
By KELLY ANDERSON, News Journal Lifestyles Writer

Jim and Sophia Humes greeted their squalling baby into a world of oppression in sweltering Mooresville, Ala., July 14, 1881. For the next 107 years of her life, Nellie Verge learned to use her God-given abilities to get she and her family through rough times. Mrs. Verge's last few years were spent with her daughter, Mrs. Lizzie McGowan. On Valentine's Day this year, Mrs. Verge died in bed of old age. Born to freed slaves and married to a sharecropper named Athey, Mrs. Verge had never known a time until her last few decades that hadn't been lean and hard. "We were poor," Mrs. McGowan, Mrs. Verge's daughter, explained. “But we never really knew it. We always had food, clothing and a roof over our heads. "Since daddy was a sharecropper, there were good years and bad ones. When there was a bad year, we didn't have nothing. I don't know how we all made it. As a child, you don't understand the poorness. Now I look back and wonder how we survived." Mrs. McGowan and her 11 brothers and sisters survived and grew up to be optimistic, a quality they attribute to their, mother's survival instincts, wisdom and old folk knowledge. Using the vegetables they grew on their plot of land, Mrs. Verge would always provide a meal for her children. I’m sure she worried about whether we were getting a well-balanced meal, Mrs. Irean Hughes, another of Mrs. Verge's daughters, commented. But she never let us know about these problems she faced." Sugar and flour sacks were utilized by Mrs. Verge for her children's clothes and shoes. "All our dresses and panties were made from sacks," Mrs. McGowan said. "Since we were too poor to buy elastic, all our clothes had drawstrings, including our panties. "To make the little houses we lived in look more homey, she'd paper the house with magazines ' and newspapers," Mrs. McGowan related. "It looked good. She'd always make it so the newspaper could be read. The Verge children were also treated to Bible readings by their father and ghost stories by their mother at night. I remember the women with, their burnt front legs from working in front of the fireplace all the time," Mrs. Hughes recalled. "Mom, with her burnt legs, would sit in front of the fireplace at night and tell us ghost stories right before we went to bed. “It's such a vivid memory for me. I remember those stories like they were told yesterday." To keep her children warm on frigid Tennessee nights, Mrs. Verge made quilts and quilt pieces. These weren't ordinary quilts. They were quite extraordinary. So extraordinary that Mrs. Verge's designs were featured by Sally E. Weatherford in the September 1978 "Tennessee Folklore Society Bulletin. “Mrs. Weatherford wrote: “With over 100 quilts to her credit during her lifetime, Mrs. Verge admits she started piecing quilts as a child of 7 or 8. Quilting back then, she is quick to remind, was for practicality rather than beauty. As one of 10 children, she soon learned to pitch in and help provide the large family with patch-quilted coverlets. "Of course, these were made out of whatever fabrics were available. Worn-out coats, pants, dress skirts (the skirts wore out quicker than the bodices) and anything else too ragged to wear, but too good to throw away were used for quilts. Mrs. Verge can show how an “old- britches” quilt (as she-calls it) was made from heavy wool overcoats and pants, and patched in almost a ‘crazy quilt’ manner." Quilting for Mrs. Verge changed from necessity to hobby after her husband died of cancer in 1959. Instead of material from old clothes, Mrs. Verge now had the luxury of fabric supplied by two of her sons, who got leftovers from a factory in Murfreesboro where they worked. Mrs. Verge possessed another skill which assured healthy children a knowledge of folk medicinal remedies. One such remedy suggested taking a wad of snuff and soot, kerosene, turpentine and sugar and mix it with spider webs and apply it to your child's heel when a nail has been stepped on. That's exactly the remedy Mrs. Verge put on her daughter's heel. "We didn't go to the doctors when we were little Mrs. McGowan said. "If we fell ill, she'd cure us. It always worked. "Sardine juice was also wrapped - up in a cloth and tied around the head for ailments. Other cures included sheep shap tea and chicken cap tea for measles, bruised gypsum leaves as an ointment, sagegrass and peachtree bark tea for fever and mare’s milk for whooping cough. "She didn't believe in doctors right up until she died," Mrs. McGowan related. "She believed in her home remedies." However, Mrs. Verge did resign herself to a fairly lengthy hospital stay when she threw a blood clot into her lungs in 1981. “The doctor told her that condition would kill most people in seconds," Mrs. Hughes recalled. "Momma lived more than seven years with it. "Even in the hospital she wanted a can of sardines," Mrs. Hughes related with a smile. "When she finally got a hold of a can, she gulped the sardines and juice down. I suspect she thought that would cure her." Mrs. Verge died fulfilling 107 years of life. She left behind her one sister, Sophia Lewis of Huntsville, Ala.; three daughters, Lizzie McGowan, Effie Verge and Irean Hughes of Murfreesboro; four sons, Floyd Verge and the Rev. R.C. Verge of Murfreesboro, Jimmy J. Verge of Nashville and Willie Verge of Detroit, Mich.; 40 grandchildren; 75 great-grandchildren and 21 great-greatgrandchildren. "I can't ever remember her being unhappy," Mrs. Hughes said of her mother. “The only time I can recall her crying was when our little brother, Joe Robert, died of spinal meningitis. If it were me and my children in her world, I would have been in the pits of depression." What do her daughters attribute as the reason for her long life? "She was a very religious woman," Mrs. Hughes reasoned. "Both she and daddy were very religious. She was a member of Stones River Primitive Baptist Church for 21 years." Before joining Stones River," Mrs. Verge professed her faith and joined Mt. Zion. Her family's religious convictions can be traced even further back, however "I remember her talking about how her parents would have to meet in a cabin in secret for religious services," Mrs. Hughes explained. "It had to be very secretive so the ol’ master wouldn't find out." But Mrs. McGowan has another answer to this puzzling question: "I guess she was made out of good material."

Age Note: Nellies’ age varies from record to record. Her obituary and follow-up story indicate a birth in 1881 or July 14, 1881, respectively. The Social Security gives December 14, 1888 as her date of birth. The census records also vary – along with the spelling of her last name, using Virge or Verge depending on the year. The earliest census record for her is in 1900, and listed her as 2 year old daughter of James and Sophy Humes. By the 1910 census, she was listed as the 14 year old daughter of Jim and Sophia Humes, with a birth year of 1896. By the 1920 census, she was married to Athey, with an age of 23, a birth year of 1897. The 19030 census indicates 35 year old Nellie was born in 1895, and finally the 1940 census has her at age 50 with a birth year of 1890. Her most likely date of birth was 1896, making her 93 at the time of death and 82 when the Folklore article was written.

Image 1 Sources:
FASHION ADOPTS THE GAY PATCH WORK QUILT by Sarah Williamson; The San Francisco Call, December 30, 1906

Quilt Names in the Ozarks by Vance Randolph and Isabel Spradley; American Speech, Vol. 8, No. 1 (Feb., 1933), pp. 33-36, Published by: Duke University Press

The Tennessee Folklore Society, June 1978; Profile of a Murfreesboro Quiltmaker and Her Craft by Sally E. Weatherford, Cover and pages 108-114

The Daily News-Journal (Murfreesboro, Tennessee), 13 Apr 1979, Page 2; Library Report

Nashville Banner (Nashville, Tennessee), 01 Oct 1959, Page 53; Athey Verge

The Tennessean (Nashville, Tennessee), 16 Feb 1989, Page 31; Nellie Verge

Image 2 Sources:
Women's Caucus for Art, 1983 WCA Honor Awards; National Woman’s Caucus for Art Conference, Philadelphia, February 15-18, 1983

Pecolia Warner 1982, Photo by Maude Wahlman

P Quilts: Pecolia Warner of Yazoo City

Pig Pen Quilt (Log Cabin Variation) by Pecolia Warner

Pecolia Warner (1901-1983) in 1975 with one of her "P Quilts"

Signs and Symbols: African Images in African-American Quilts by Maude Wahlman, 1993
FOUND INSIDE – PAGE 55
Bird Trap quilt by Pecolia Warner, Yazoo City, Mississippi, 1982; 83"x68"
“Made of twelve different squares, each composed from her own combination of a Log Cabin pattern and triangles”

Bird Trap w/Block Lotto Birds

The Box Trap: An Ancient, Simple Method for Capturing Birds, Christopher Nyerges, March 27, 2017

Camp life in the woods and the tricks of trapping by W. Hamilton Gibson; 1881

Image 3 Sources:
The Art Journal: New series - Volume 5, 1879, Page 386. THE BIRD-TRAP. Original Etching by Konrad Grob

Nashville Union and American, October 14, 1871, Image 3
Nashville Union and American, November 03, 1871, Image 1
The Weekly Constitution, Atlanta, Ga., October 07, 1873, Image 8
Kentucky Advocate (Danville, Kentucky), May 5, 1876, Fri, Page 2

The Ladies Treasury for 1876
American Agriculturist, 1978, Volume 37, Page 146
The Peterson Magazine, December 1880, Volume 78, Page 465
The Home Needle by Ella Rodman Church, 1882, Page 117
How to Make the Home Beautiful, Patten Publishing Co, 1884
The Prairie Farmer, January 3, 1885
The Prairie Farmer, November 1887
The Billings Gazette, September 9, 1904
The evening Star, Washington, DC, May 16, 1927

Other Sources:
Folklife in the Florida Parishes: People and Their Crafts (www.louisianafolklife.org)
Turlie Richardson and Lillie Payton, the Felicianas by Susan Garrett Davis

AFRICAN-AMERICAN QUILTS 'WHOOP' WITH COLOR, 
by GEOFF GEHMAN, The Morning Call

The Tennessean (Nashville, Tennessee), 01 Oct 1959, Page 51; Athey Verge
The Daily News-Journal (Murfreesboro, Tennessee), 05 Mar 1989, Page 21, 23; Nellie Verge
The Tennessean, Nashville, Tennessee, February 19, 1897, Page 5
Census data from 1910, 1920, 1930 and 1940
Various newspaper articles/obituaries on the Verge and Humes families

Wednesday, July 22, 2020

While Searching for Hexagons I found a Calico Pie

While Searching for Hexagons – I found a Jolly Calico Tree
As I continued my search for the embroidered hexagon quilt pattern source, I stumbled upon a curious image of a quilt – one I had not seen before, but it seemed familiar as it reminded me of applique quilts designed by Florence LaGanke Harris in the 1930-40s.  So I googled “The Calico Tree Quilt” and found out that Florence did indeed have a quilt called that – and several sources led me to the January 1939 issue of the Country Gentleman.  A few days later, there it was – the Calico Tree – just like the image found on the September 22, 2013 Busy Thimble posting ( http://busythimble.blogspot.com/2013/09/ ) of a 1940s catalog.

The Home Sewing Fashion World Catalog offered patterns for clothing, furnishings and quilts according to the post, and was mailed to Mrs. Rust of Auburn, Maine.  The Calico Tree quilt, V-11199 is described as “a cheery and highly effective design for applique.”  Transfer pattern, color suggestion chart and complete instructions on how to make the quilt could be ordered.

What brought me to the site was, V-11208 Dutch Children for embroidery…in addition pattern includes 15 animal designs, suitable for embroidery on children’s clothes, nursery linen…etc.  Alas, the Dutch girl did not have braids like the one on my quilt – but this got me thinking about Florence’s alter ego Nancy Page.  Did this quilt ever come up in one of her columns?

And the answer is yes!  Back in April – May 1932, in the syndicated Nancy Page column, she refers to a summer spread, using a fine white sheet on which she appliqued a large and jolly calico tree.  On this tree grew flowers and fruit.  Birds and butterflies made of colorfast ginghams added their color to the general scheme.   A border of plain green gingham finished the sides and bottom. She also referred to soft colored tubfast prints – which reminded me of some Sun-Tub dolls I found years ago at a thrift shop.  (As you can see, my mind rabbits around a lot!)

Anyway, I got to thinking of Florence and did a bit of searching on her.  The best recent overview on her is by Wilene Smith (http://quilthistorytidbits--oldnewlydiscovered.yolasite.com/nancy-page.php ).

I did find a nice article on her in the 1937-39ish (undated) volumes called Women of Ohio, plus other details of her life.  Here are the results of my digging.

Florence LaGanke Harris (Mrs. Frederick Aston Harris) of Cleveland, Ohio is a recognized authority on home economics, not only in Ohio but also largely throughout the country by reason of her wide activities in the field and her extensive writings on the subject.  She was a syndicated writer, newspaper woman and home economics expert.  She attended Cleveland schools, then Teacher’s College, Columbia University, where she received a B.S degree.  She became an instructor at Columbia, then supervisor of home economics in schools of Oakland, CA.  Florence entered the newspaper field via the Cleveland Plain Dealer and later became the home economics editor of the Cleveland Press.  During this period she wrote articles that were widely syndicated.

She worked with an artist to design quilts, selling some to magazines and had an interesting collection of 50 quilts, and was extremely interested in home decorations and was an omnivorous reader.

Her first position was that of a hospital dietitian in Cleveland and later she was manager of the lunchroom of the Horace Mann School of Columbia University.  She then became in instructor of home economics at the Flora Stone Mather School and later at Western Reserve University of Cleveland.  She was the supervisor of the economics department of the Teachers College of Columbia University; then supervisor of the home economics in the public schools of Oakland, CA.  When she returned to Cleveland in 1922, she became the home economics editor of the Cleveland Plain Dealer and later of the Cleveland Press and was appointed director of woman’s activities under the title of “Home on the Sky.”

Education and Resume:
She graduated high school in 1904
Pratt Institute 1908-09
Technical Certificate, Teachers College, Columbia University, 1910
Dietician, St. Luke’s Hospital, Cleveland, 1910-12 
1912 Published, The Household Arts Review - Hospital Dietitian (extract from a letter), Florence LaGanke 1910
Director, Horace Mann Lunch Room, Columbia University, 1912-13
Director, Whittier Hall Dining Rooms, Columbia University, Summer Session, 1913
Instructor in Household Administration, College for Women, 1913
Instructor in Household Administration, Western Reserve University, 1913-14
In charge of Haydon Hall Cafeteria, 1914
Instructor in Household Administration, Western Reserve University, 1914-15
In charge of Flora Mather House Dining Rooms, 1915
Secretary-Treasurer Ohio State Home Economic Association, 1915
Instructor in Household Administration, Western Reserve University, 1916-17
Summer Session Instructor, Columbia University, 1917 – Large Quantity Cookery and Household Purchasing
Instructor in Household Administration, Western Reserve University, 1917-18
Columbia University, City of New York, Officers of Instruction, Florence LaGanke, Household Arts, 1918-19
Senior class of 1919, School of Practical Arts, Columbia College, Florence May LaGanke, Cleveland, Ohio
Published in the November 1919 Issue of American Cookery, an article called “Food – After the War”
Supervisor of the Teaching of Household Economics, University of California High School Faculty, 1920-21

In June 1922, the women members of the supervisory department of the Oakland public schools hosted a tea for her.  At the close of the June 1922 semester, Miss Florence M. LaGanke, director of home economics headed back to Cleveland after 3 years in the Oakland Public Schools.

Florence May LaGanke received a B.S. degree from Columbia University during the 1922-23 school year.  She married Frederick Aston Harris in 1923.  Also that same year, she had an article published in the June 1923 issue of The American Food Journal, “The Big Idea in Home Economics” by Florence LaGanke, formerly director of Home Economics, Oakland California.  On June 2, 1926 she led a Home Economics Group discussion at the National Conference of Social Work, held in Cleveland May 26-June 2, 1926.

Nancy Page Syndicated Columns:
1927 Started the syndicated column “Nancy Page” on February 20, 1927 (Brooklyn Times Union)
The paper began announcing the column on February 16, 1927

1928 Nancy Page Quilt Club – Grandmother’s Flower Garden Quilt
Edmonton Journal (Edmonton, Alberta, Canada) November 15, 1928, Page 20

1929 Nancy Page Club – Noah’s Ark Wall Hanging
Altoona Tribune, Altoona, PA; April 08, 1929, Page 6

1932 Nancy Page – Starts a Midweek Pieced Quilt Club, starting with the Building Block Quilt Pattern
May 17, 1932 (Evening Star, Washington, DC and Brooklyn Times Union)

1935 Started seeing the column Nancy Page Hints, latest found was April 17, 1944
January 15, 1935: Nancy Page Hints on Homemaking, had a quilt pattern
(Democrat and Chronicle, Rochester, NY)

1943 March 16, 1943: Nancy Page’s Chats (Democrat and Chronicle, Rochester, NY)
January 1, 1943:  Nancy Page’s Suggestions (Hartford Courant, Hartford, CT

1944 April 17, 1944: Nancy Page Hints (The Birmingham News, Birmingham, AL)

Many of the syndicated columns offered leaflets on the topics discussed, or additional directions for the project presented.  Readers had to send a stamped self-address envelope for the leaflets; and a SASE plus 2-10 cents for each pattern ordered.

While doing her columns, and working at the Cleveland Plain Dealer, she still was able to be the Chairman of the Home Economics in Business Section according to the October 1929 and January 1930 Bulletin of the American Home Economics Association.  In 1935 she was made home economics consultant, and did daily broadcasts over the radio.

At the time of the Woman of Ohio bio, 1937-39 time frame, she was quite a busy lady:
Belonged to the Epworth Euclid Methodist Episcopal church
Member and Director of the Woman’s City Club of Cleveland
Life member of the Associated Charities
Served on the Board of Directors of the Child Health Association of Cleveland
Belonged to the Home Economics Association – national, state and local
Member of both state and national organizations of American Dietitians
Served on the board of directors of the Needlecraft Guild of Cleveland
Active member of the Cleveland Woman’s Press Club
Member of the Ohio Newspaper Woman’s Association
Member of Columbus Chapter, Theta Sigma Pi
Member of the English Speaking Union

In addition, Florence was widely known as the author of many books:
Patty Pans, A cook book for beginners, 1929
The home economics omnibus, 1935 (with Hazel H. Huston)
Everywoman’s complete guide to homemaking, 1936
Foods, their nutritive, economic and social values, 1938 (with Ruth Adele Henderson)
Flavor’s the thing, 1939 (re issued in 1946 as: Cooking with a foreign flavor)
Pies a-plenty, 1940
Careers in home economics, 1942
Food ‘n’ fun for the invalid, 1942
Victory vitamin cook book for wartime meals, 1943
400 salads, 1944 (with Florence A. Cowles)
The new home economics omnibus, 1945 (updated from 1938)
Let’s Study foods, 1945 (with Ruth Adele Henderson)
Vegetable Cookery, 1952
Young folks at home; home economics for junior high school, 1953 (with Treva E. Kauffman)
Your foods book, 1964 (with Rex Todd Withers)

Florence LaGanke – Nancy Page Series Quilts and other series patterns
1928-29  Grandmother’s Flower Garden
1929  Noah’s Ark Wall Hanging
1929  Kitchen Stencils
1929, 1931  Alphabet Quilt / ABC Quilt
1930-31  Magic Vine Quilt
1931  Leaf Quilt
1931  Wreath Series
1931-32  Garden Bouquet
1932  Snowflake Quilt
1932-33  Old Almanac Quilt / Zodiac Quilt
1933  French Bouquet
1933  Brother Sister Quilts
1934  Festoon Quilt
1934  Quilt of Many Stars
1934  Crossed Arrows
1934  Star and Sprig Quilt
1934  Laurel Wreath Quilt
1935  Fruit Linens
1935  Georgian Rose Quilt
1935  Calendar Quilt
1935  Spreading Beauty (Dec 1935, Successful Farming – per Wilene Smith)
1936  Summer Garlands Quilt
1936-37  Falling Leaves Quilt
1937  One, Two, Buckle My Shoe Quilt
1937  Picnic Cloth
1937  Quilt of Birds
1937  Tyrolean Table Cover
1938  Hearts & Flowers
1938-39  Mother Goose Quilt
1939-40  The Calico Tree (Jan 1939, The Country Gentleman; 1940 catalog; first described in 1932)
1940  Our Blue Ribbon Quilt (Feb 1940, The Country Gentlemen)

Other Projects offered by the Nancy Page Quilt Club or Nancy Page Club (There are many, many more, but this should give you an idea.  Many times, the projects incorporated the same motifs used in the quilts – but were used for household items or clothing embellishments.)

1929  Bluebell Apron Pocket
1929  Handkerchief Monogram
1929  Trefoil Applique Pattern (pillow, guest towel, dress)
1929  Fish Applique Pattern
1929  Swan Needlework Pattern
1929  Star Applique Pattern
1929  Handkerchief Designs
1930  Apple Applique
1930  Bird Applique (pocket)
1930  Tea Time Apron
1930  Calico Flower
1930  The House Goes “Summery”
1930  Quaint Folewr Passepartout (spelled this way in the clipping)
1930  Sturdy Sewing Apron
1930  Dainty Sewing Apron
1930  Practical Porch Pillow
1930  Fish Bath Mat
1930  Fish Towel
1931  Scrap Book
1931  Baby’s Bib
1931  Tray Cloth
1931  Poppy Pillow
1931  Flower Applique
And the list goes on and on…

On another note, while looking for “Calico Tree” I came across a very cute poem from 1871 by Edward Lear in his book “Nonsense Songs, Stories, Botany, and Alphabets” called “Calico Pie.”  I couldn’t help but wonder if Florence knew of this poem while designing her Jolly Calico Tree with flowers, fruit, birds and butterflies, since she was known to be quite a reader.


Sources – Not all, but most:
Cullman Times Democrat, October 2, 1966, Page 2
“I have fourteen versions of the “Rose of Sharon”, but I have not been able to find the “Calico Tree” which I understand appeared in a 1939 issue of the now defunct “Country Gentleman.”

The Busy Thimble Blog, September 22, 2013 – 1940s Catalog “Home Sewing Fashion Catalog”

Nancy Page By Florence LaGanke – Jolly Calico Tree references
The Lincoln Star, Lincoln, NE; April 19, 1932, Page 16
The Akron Beacon Journal, Akron, OH; April 19, 1932, Page 24
Evening Star, Washington, DC; April 19, 1932, Page B-13, Image 29
The Winnipeg Tribune from Winnipeg, Manitoba, Canada; April 28, 1932, Page 6
Democrat and Chronicle, Rochester, NY; 04 May 1932, Page 12

Nancy Page Column Starts – Brooklyn Times Union; Introduction – Feb 16, 1932; First Column – Feb 20, 1927

Nancy Page Midweek Pieced Quilt Club Starts – May 17, 1932; Evening Star, Washington, DC; Brooklyn Times Union

Nancy Page Quilt Club – Edmonton Journal, Canada; Nov 15, 1928, Page 20; Grandmother’s Flower Garden Quilt

Nancy Page’s Chats – Democrat and Chronicle, Rochester, NY; Mar 16, 1943, Page 15

Nancy Page Hints – The Birmingham News, Birmingham, AL; Nov 02, 1943, Page 14

Nancy Page, Nancy Page Club, Nancy Page Quilt Club, Nancy Page’s Chats, Nancy Page Hints – various sources

Series Quilts and Other Patterns – various newspapers sources

Books by Florence LaGanke Harris – various online book sources

Nonsense Songs, Stories, Botany, and Alphabets by Edward Lear, 1871 – “Calico Pie”

A Feast of Good Things, 1912; “Hospital Dietitian” by Florence LaGanke, 1910
College for Women: Western Reserve University, Catalog for 1913-1914
College for Women: Western Reserve University, Catalog for 1916-1917
College for Women: Western Reserve University, Catalog for 1917-1918
Catalog of Officers and Students of Columbia College, NY; Catalog 1918-19
Annual Announcement of Courses of Instruction, University of California, 1920
University (of California) High School Journal, January 1921
Catalogue by Columbia University, Volume 1923/1924 – Degrees Conferred 1922-23, BS in Education & Practical Arts
The Journal of Home Economics, 1915; Ohio State Home Economics Association, Secretary-Treasurer
American Cookery, December 1919; “Food – After the War”
The American Food Journal, June 1923; “The Big Idea in Home Economics”
Oakland Tribune, Oakland, CA; June 2, 1923; “Resection Arranged for Miss LaGanke”
National Conference of Social Work, Conference Bulletin, Cleveland, May 1926
American Home Economics Association, October 1929 and January 1930
Women of Ohio; a record of their achievements in the history of the state by Ruth Neely, Ruth, ed; Ohio Newspaper Women's Association (undated – 1937-39?)

Tuesday, June 23, 2020

The Horn Blowing Rooster is a Shippers Ticket


The Horn Blowing Rooster is a Shippers Ticket

John Lowe Salter (28Jan1853 – 24Oct1907) – born in Portsmouth, NH, son of sea captain and ship owner John E. Salter, and Anne M. (Kennard) Salter.  He was the great-great-grandson of Captain Titus Salter.  He moved to NYC in his late teens, and was living there in 1874, at the time of his father’s death.  In 1876 he married Mabel Shores.  They had five children, 2 daughters and 3 sons – all of his sons would eventually work in the dry goods business.   At some point in the late 1870s he was employed by Low, Harriman & Co.  The 1886 trademarks filed by Low, Harriman & Co. for “First Call” and the Horn Blowing Rooster were signed by John L. Salter, member of the firm, and were indicated to have been in use since August 1883.  The trademarks from those original designs stayed with the Salter family even after they merged with Woodward, Baldwin & Co. in 1927.  In 1954, just before the retirement of John L. Salter, Jr, the trademarks were transferred to Woodward, Baldwin & Co.   John L. Salter, Jr retired from Woodward, Baldwin & Co in 1956. 

Dry Goods Commissions – The Companies
Oliver Harriman worked for dry goods commission house of McCurdy, Aldridge & Spencer, continuing with them until their retirement to form the succeeding business Low, Harriman, Durfee & Co. with James Low, his future son-in-law, as the senior partner.   McCurdy, Aldridge & Spencer was founded in 1820 by Herman Dagget Aldrich and Robert Henry McCurdy, Spencer joined later.  When the three partners retired, the Low Harriman partnerships began.

The Louisville Directory and Business Advertiser of 1861 has a listing for James Low & Co (James Low, John, Joseph T., & Samuel D. Tompkins & James D. Smith) dry goods, 210 Sixth in NYC.  According to the Kentucky State Register and other business directories, they were in business by at least 1844 on the N.E corner of Main & Wall Streets, Louisville, KY.  In 1859, newspaper ads in the Daily Courier, Louisville – for the James Low & Co. appeared for handkerchiefs, threads, laces, ladies’ collars, gloves, etc. Ads appeared in newspapers for James Low & Co. dry goods throughout the 1850s – 1860s.

The 1866-67 NYC Co-Partnership Directory lists the Dry Goods Commission company of Low, Harriman, Durfee & Co. (James Low, Oliver Harriman, George Durfee and John W. Bigelow) 45 Park Place in NYC.

Joseph Tompkins Low, son of James Low, was a clerk for the dry goods jobbing house Wicks, Smith & Co.  In January 1867 he joined his father in the firm Low, Harriman & Co.

In the 1868-69 NYC Co-Partnership Directory, the company became Low, Harriman & Co. (James and Joseph T. Low, Oliver Harriman and John W. Bigelow) 65 Worth in NYC.

Mathew C.D. Borden graduated from Yale in 1864 and began his business career in 1865 with Lathrop, Luddington & Co, a large jobbing house in NYC. In 1868 he was connected with the commission house of Low, Harriman & Co, selling agents for American Print Works of Fall River.

In the March 1874 co-partnership directory, the company is listed as Low, Harriman & Co. (James & Joseph T. Low, Oliver Harriman, John W. Bigelow and Matthew C.D. Bordon) 65 Worth in NYC.

In the March 1876, 1878 and 1879 co-partnership directories, the company is listed as Low, Harriman & Co. (James & Joseph T. Low, Oliver Harriman and Matthew C.D. Bordon) 65 Worth in NYC.

In 1879 Matthew D.C. Borden left Low, Harriman & Co and joined with his brother, Thomas J. Bordon who worked as a clerk, agent, treasurer and director of American Print Works.

In the 1879-80 Lain Directory G of Brooklyn, John L. Salter, age 26 was employed in the dry goods business at 67 Worth in NYC.  According to ads, Low, Harriman & Co occupied 65 & 67 Worth address in NYC.  Unsure of when he started his employ with Low, Harriman & Co, but is listed as working there in 1879.  

In 1885, Joseph T. Low was identified in several newspaper clippings as the head of the firm Low, Harriman & Co. and that James Low had retired.

In January 1886, a notice in The New York Times indicated that Oliver Harriman was retiring from the business of Low, Harriman & Co. (Oliver Harriman, Jos. T. Low, John L. Dudley and J. Low Harriman) and a new co-partnership would be forming to continue the dry goods commission business in the same style with Jos. T. Low, J. Low Harriman, Chas. H. Bebee and John L. Salter.

April 1886 – Trademarks filed by Low, Harriman & Co. by John L. Salter, member of the firm.

In the March 1888 co-partnership directory, the company is listed as Low, Harriman & Co (Joseph T. Low, J. Low Harriman, Charles H. Bebee & John L. Salter) 65 Worth in NYC.  Oliver Harriman retired in 1886 and James Low had already retired, and now their sons were in the business.

In the March 1889 co-partnership directory the firm Low, Harriman & Co is listed as dissolved and new company listed as Joseph T. Low & Co. (Joseph T. Low, Charles H. Bebee and John L. Salter) 65 Worth in NYC,

In the 1890 directory, the co-partnership of Joseph T. Low & Co. remained unchanged.

On December 31, 1896 the firm Joseph T. Low & Co announced they would be dissolving and Mr. Joseph T. Low retiring from the business.  Other members of the firm listed as Charles H. Beebe and John L. Salter.

In the 1897-98 Lain’s Directory, John L Salter is listed at working in the dry goods business at 70 Worth Street in Brooklyn, NY.  This is during the gap period between the dissolution of Joseph T. Low & Co. and John striking out on his own.  Not sure what company resided at that address at that time.

James Low, retired dry goods merchant, died on May 17, 1898, at the home of his daughter Mrs. Oliver Harriman in NYC.  He conducted a very successful dry goods jobbing business (James Low & Co) in Louisville, Kentucky prior to going to NYC to establish the commission house of Low, Harriman, Durfee & Co., which subsequently became Low, Harriman & Co.  His son, Joseph T. Low, who was also his business partner, retired from the business in 1896.

In the Trow’s 1898 business directory of the boroughs of Manhattan and the Bronx, City of New York, John L. Salter is listed as a Dry Goods Commission Merchant as 34 Thomas in NYC.  He was not noted in the 1897 volume of the directory.  Also in the year of 1898, John L Salter paid a $5,000 mortgage to Mabel S. Salter (his wife); and his son John L. Salter, Jr joined with him in his dry goods commission business, John L. Salter.

By 1901, John L. Salter had set up his business at 47 Leonard Street in NYC according to the 1901-02 Club Men of New York.

1905 – Trademarks filed by John L. Salter, for his company of the same name.

1907 John L. Salter passed in October 1907; two of his sons, John L. Salter, Jr and Robert Shores Slater formed the succeeding business John L. Salter and Sons.

In the Trow’s 1909 directory, the company is listed as John L. Salter & Sons (Robert S. & John L. Salter, Jr, only) 47 Leonard in NYC,

In the years 1912-1916 to John L. Salter & Sons provided prices for many of the branded products to Fibre and Fabric, the American Textile Trade Review for their Fabric Selling Supplement.  Brands “First Call” and “2nd to None” are listed along with many other bleached cotton brand names.

Eventually, all three of John L Salter’s sons worked for the dry goods commission business.

In 1927 John L. Salter & Sons merged with Woodward, Baldwin & Co as the Salter Department, Textile Finishing.  By this time, Thomas Manning Salter had joined the dry goods business and remained with the Salter Department after the merger.  

Woodward, Baldwin & Co. started out in 1828 as the firm of Jones & Woodward, in Baltimore, MD.  After a few name iterations, it finalized in 1856 as Woodward, Baldwin & Co. and set up in NYC in 1860 at 43-45 Worth Street.

In 1929, Robert S. Salter left Woodward, Baldwin & Co. to pursue other interests.

In 1935, Thomas M. Salter was placed in charge of the gray goods for the direct firm of Woodward, Baldwin & Co.

The First Call and Horn Blowing Rooster trademarks transferred in 1954 from John L. Salter, Jr. to Woodward, Baldwin & Co.

John L. Salter, Jr retired from Woodward, Baldwin & Co in 1956.

KEY TO IMAGES
Column 1: 1886 Trademarks filed by Low, Harriman & Co by John L. Salter, member of the firm; No. 13,162 “First Call”;  No. 13,215 Horn Blowing Rooster; Shipping Ticket (in color) First Call trademark registered No. 13,162; Redwork Horn Blowing Rooster close-up provided by Lynn Evans Miller, owner of the quilt (photo used with permission)

Column 2: 1905 Trademarks filed by John L. Salter; No. 47,337 (Serial 3,408) “First Call”;  No. 47,028 (Serial 3,406) Horn Blowing Rooster; No. 46,903 (Serial 3,407) “2nd to None”

Column 3: Company Ads: James Low & Company, Louisville, KY (Kimball & James’ Business Directory, 1844, page 363); 1883 ad for Low, Harriman & Co (not sure of publication, only the ad was being sold); 1878 ad for Low, Harriman & Co (Advertisement in the April 1878 Bulletin of the National Association of Wool Manufacturers)

Column 4: Joseph T. Low & Co (1889 United States Export Almanac); John L. Salter & Sons (1914 Dry Goods Economist); Woodward, Baldwin & Co (1910 American’s Textile Reporter); Fibre and Fabric, the American Textile Trade Review, Current Market Standards, Fabric Selling Supplement, J.L. Salter & Sons (Oct 4, 1913 and November 27, 1915)

Column 5: 1954 Trademarks filed by Woodward, Baldwin & Co; No. 606,492 (Serial 671,400) Horn Blowing Rooster with First Call text; No. 606,493 (Serial 671,401) Horn Blowing Rooster

ORIGINAL TRADEMARKS
US Serial 13,162; Registered on 06Apr1886 by Low, Harriman & Co. (per John L. Salter, member of the firm) for Bleached, brown and colored cotton goods.  Description:  Text “First Call” The trademark has been in use continuously since August 30, 1883.  Stencil or otherwise form the trademark on the pieces of goods, OR Print the trademark on labels to be applied to the pieces of goods

US Serial 13,215; Registered on 20Apr1886 by Low, Harriman & Co. (Per John L. Salter, member of the firm) for Bleached, brown and colored cotton goods.  Description:  Representation of a rooster and a horn, in which the rooster is represented as standing on one foot, and holding a horn with his other foot.  The mouth-piece of the horn is represented as being in the rooster’s mouth, and its flared end as rising above the rooster’s back.  These have generally been arranged with a background, wherein are represented trees, a church, and mountains; but the rooster and horn may be differently arranged, and the rock, trees, church, and mountains can be changed at pleasure or omitted without materially altering the character of our trademark, the essential features of which are the representation of the rooster and the horn, said rooster standing on one foot and holding the horn with his other foot, the mouthpiece of the horn being placed in the rooster’s mouth, and its flared end rising above the rooster’s back.  The trademark has been in use continuously since August 30, 1883.  Print the trademark on labels to be applied to the pieces of goods

Informational Sources on Textile Labels or Shippers Tickets
Textile Trademark – Adrian Wilson of New York – collects textile trademark stamps and record books used by merchants or fabric finishers – lots of good images

Ivory for Cotton – Madelyn Shaw and Amy J. Anderson (only the first page of the article, if you google “Ivory for Cotton” several examples of textile labels from the Wiley on-line library appear)

Shippers Tickets – Science and Industry Museum…https://blog.scienceandindustrymuseum.org.uk/displaying-shippers-tickets/
A google search on textile “shippers ticket” – Images – will yield an abundance of these colorful labels

Sunday, May 3, 2020

The Horn Blowing Rooster

The Horn Blowing Rooster - Democratic Rally Icon to Dry Goods Trademark
Several years ago I stitched this block for a crazy quilt I am working on (and still am - I work on it a bit each week when I get some free time).  I had found the image on an antique crazy quilt and thought it was perfect for my quilt.  My son played tuba in the local marching band, and I of course was a band mom.  I had found the rooster motif on a redwork quilt, so I know there had to be a source for the design, but had not found it yet.  Just recently, a member of the AQSG (American Quilt Study Group) shared an image of the backing fabric of a quilt - depicting a rising sun with a rooster.  Of course, everyone started doing searches on roosters, and came to find out that the rooster was the symbol of the Democratic Party.  I too joined the search and much to my surprise, found a 1868 ad for a Democratic Rally with a horn blowing rooster.  I shared it with the group, and another member sent me images from a 1950s book called The Egg Tree, which had a similar design.  More searching led to a lithographic print of the same idea - a rooster blowing a horn - and it was a trade mark.

The trademark searches yielded the trademark owners and company histories.  The following images show what I found:
In 1905, John Lowe Salter was awarded trademarks for his Dry Goods Commission company. 

COMPANY INFO:  John Lowe Salter (1853-1907) - Employed by the Dry Goods Commission house of Low, Herriman & Co (formed in 1867), and in 1888 became the Joseph T. Low & Co.  John Salter became partner in that business until it dissolved in 1896 with the retirement of Mr. Low.   Mr. Salter established an account for himself in 1898, the John L. Salter, Dry Goods Commission, where he continued until his death in 1907. 

John Lowe Salter, Jr. (1880-1963) entered into his father’s business in 1898, and continued as a partner there until his father’s death in 1907.  His brother Robert Shores Salter (1882 - 1969) joined him in 1907 to form John L Salter & Sons.  Robert retired from the business in 1929 to pursue other interests.

Along with the trademark filings, a couple of ads were found, a color lithograph image was found on Worthpoint (8x10-inch in size, was sold on ebay in 2011).  The text FIRST CALL and Registered Trade Mark 43162 was written on the rock according to the listing.  No further information provided, nor found regarding that trademark number.

April 4, 1914 ad from the Dry Goods Economist (notice the trade mark images in the ad) and 1922 Ad from America’s Textile Reporter

In 1927, John L. Salter and Sons merged with Woodward, Baldwin & Co, as the Salter Department.  John L Salter, Jr. retired in 1955, and was in charge of the textile finishing department.

TRADEMARK INFO: 
1905 – Trademarks in existence since 1883 and 1886 – PRIOR to John L Salter forming his own company, but used by him;
1955 – Trademark re-issued with updated design to Woodward, Baldwin and Co, stated in existence since 1885.

Registered Trademarks & Renewals:
17 Oct 1905 (46903, 47028, 47337) by John L Salter (Initial)
31 Oct 1925 (46903, 47028, 47337) by John L Salter & Sons (Renew)
17 Oct 1945 (46903, 47028, 47337) by John L Salter to Woodward, Baldwin & Co (Renew)
24 May 1955 (606492, 606493) by Woodward, Baldwin & Co (Initial)
29 Jun 1965 (47028) by John L Salter to Woodward, Baldwin & Co (Renew)
18 Nov 1975 (606492,606493) by Woodward, Baldwin & Co (Renew)
06 Jun 1986 (47028) Trademark expired
26 Feb 1996 (606492,606493) Trademarks expired
21 Oct 2005 (46903, 47337) Trademarks expired

IMAGE FOUND ITS WAY ONTO QUILTS
The red rooster/green tail image is from a crazy quilt sold on ebay in 2007, found on WorthPoint. 
The red rooster/cream tail image is from a crazy quilt found on ebay in 2015. 
The redwork quilt was found at
https://quilts-vintageandantique.blogspot.com/2011/08/red-and-white-quilts-again.html 
I would date the quilt somewhere around 1905-1915 – it has Bernhardt Wall’s Sunbonnet Girls and Teddy Bear DOW designs sprinkled throughout the quilt.  The next embroidered rooster is from the crazy quilt that I am working on, inspired by the vintage CQ image found in 2015.

OTHER HORN BLOWING ROOSTER IMAGES FOUND:
1868 Democratic Rally Ad, the San Luis Obispo Pioneer
First Call Tobacco Tin Tag (Tags were used between 1870-1930 to identify brands of plug tobacco at point of sale)
1949 Milhous - Preliminary art for cover, for "The Egg Tree"
1950 The Egg Tree by Katherine Milhous (1894-1977)
1957 Flier from the Pennsylvania City Institute Library re-opening event
1988 serving bowl produced by Howard Kaplan’s French Country Store, © 1988 NEWCOR, Made in Thailand. (Esty Listing 751496495)

I thought I was finished, but earlier today I found a few more interesting images of roosters playing a horn.  The brass image really looks like the 1905 trademark and look to see what 3D printing can do!

Sunday, March 8, 2020

102 Hexagons - Vintage Quilt Top

Vintage Quilt Top - 102 Hexagons, with Feedsack Half-Hexes, with Pink Setting Triangles

50 Solid Pink Hexagon Centers (Same color as setting triangles) and 52 Embroidered Motif Hexagon Centers (26 pairs, mirror images).  The outline embroidery is done in pink over a stamped blue-colored pattern.  There are mostly animals, with a Dutch boy and girl in the mix.  The quilt top measures 78-inches by 88-inches, and was purchased at an estate sale. 
In researching the pattern, the only reference to the design was from Barbara Brackman’s Encyclopedia of Pieced Quilt Patterns, 241.9 Wagon Wheel, with a 1965 source of Aunt Kate’s Quilting Bee.  Aunt Kate’s was an early quilt periodical published by Glenna Boyd.  In it, she would often re-publish existing quilt patterns from older design sources.  Unfortunately she did not always indicate where they came from originally, so I suspect there is a source out there somewhere waiting to be found.
 
In searching around, several other quilts were with the same embroidery motifs, also using feedsack materials.  There are several documented in the Quilt Index that used the pattern and embroidery motifs, and those date into the late 1920s into the 1940s.  See the summary below.

The exact pattern for the embroidery motifs has not been found.  Dutch themed motifs were popular for much of the early 20th century, as were animals for nursery designs.  Newspapers frequently had ads for crib quilts featuring various friendly animal figures.  Hot iron transfer companies Walker’s, Butterick, Robin Transfers, Standard Fashion, Briggs, etc. all offered transfer sheets of animal motifs.  Virginia Snow even offered pre-printed Kindergarten Blocks stamped with animals on fine quality cloth, ready to be embroidered.
Walker’s is the best guess as the likely source of the design motifs, they offered two slightly different sheets of animal motifs – each in a set of 26 different animals.  If they were mirror imaged, we have 52 – just like on the quilt top. 
 
Some very similar designs were found on Flickr, that were on the quilt top – looks very promising, but not fully documented by the poster as to the actual company that made the patterns – so the search continues.  I will keep you posted if the source is ever found.
 Here is the layout and motif mapping of the quilt top.
Other quilts with the same pattern and embroidered motifs:
1)  Wagon Wheel Embroidered Quilt - Pennsylvania Piecemaker – also made up with feed sack-like fabrics, has a more of a late 1940s-1950s feel to it.
Jan 6, 2018 - In July of this past year, I purchased this wagon wheel quilt at a local flea market….
 
2) Quilt Index Record: 68-104-5AD  – Wagon Wheel – Baby Quilt
Indiana, Hexagon blocks set together with pink triangles
 
3) Quilt Index Record: 1B-3A-7DA – Wagon Wheel (baby quilt); Louisiana
 
4) Quilt Index Record: 1E-3D-1E98 – Children’s Zoo; Michigan; Embroidered animals in the center of each hexagon.
 
Same pattern without embroidery:
A) Quilt Index Record: 67-EC-1397 – My First Quilt; Arizona; Wagon Wheel Scrappy
 
B) Quilt Index Record: 50-8A-6B – Wagon Wheel; West Virginia
 
Same Pattern, different embroidery motifs:
1) Quilt Index Record: 1E-3D-892 – Embroidered Animals in Wagon Wheels; Michigan