Saturday, February 15, 2014

Albums: Silk & Paper


Ladies' Album, my latest 19th-century reproduction from Moda,
celebrates albums, bound and stitched, that captured women's imagination.

Women were often photographed with
albums and books, but men also created autograph albums.


Notably, albums related to the Civil War.

The Munger Album, with autographs of government officials, inscribed:

 "My husband, Charles A. Munger had this book made for him and collected most of the Autographs while in the Civil War, after he had been detailed by the War Department, as clerk in the Adjutant General's Office. He enlisted in 117th Regiment N. Y. Volunteers Aug. 8th 1862. At Waterville, N. Y."


An enterprising employee at the Ohio Penitentiary
collected autographs of Confederate prisoners of war
who served under General John Hunt Morgan.


Robert E. Lee

Carte-de-visite photos of officers were popular
 and many collectors gathered autographed CDV's
into photograph albums.

Lincoln's secretary John Hay kept an autographed photo album.

Album quilts were also the fashion during the war.
Here's a signature from a quilt dated 1862 in the Historical Society of the Nyacks.

See a post on this album quilt here:


Mary Hughes Lord of Nashville, Tennessee
combined two pastimes and asked politicians,
generals and other prominent men for 
their signatures for her album quilt.

The silk hexagon quilt is in the collection
of the Smithsonian Institution.

Mary Hughes Lord

Read about her quilt here:


Saturday, February 8, 2014

A Lincoln Textile


Lincoln & Union Generals Bandana

Here's an unusual Civil War textile. One was sold at
Cowan's Auctions in 2006 for $4,600.
They note it is not in Herbert Collin's index to political fabric
Threads of History. It's 20" x 22".

Here is another example, I think, in lesser condition.
It looks like it was printed to imitate Cartes des Visites
portraits (CDV's) of the Union heroes, which
were sold as souvenirs during the war.

Cowan's notes Lincoln is in the center, McClellan upper right, Halleck, lower right, Siegel, lower left and Fremont upper left.

Similar CDV of General Halleck

I don't know much about Civil War generals (I'd rather focus on Civil War hoopskirts) but both
McClellan and Fremont were not in Lincoln's good graces in 1864. McClellan ran against Lincoln for President that year. There were other Generals in higher regard then---Sherman and Grant, for example. Based on the choice of portraits I wonder if this might be a little earlier than 1864.

The printing style is not much help either. The scattered CDV portrait format is unusual, although the frame of checks is not
It's the kind of simple dot pattern often seen in bandanas...

similar to this later Cleveland/Thurman bandana
from 1888.

See another 1864 campaign textile here at the Smithsonian's website

Saturday, February 1, 2014

Three Fancy Sets for Threads of Memory and One Plain

Fancy Sets

Last week you got the first block for this year's block of the month and some of you are already thinking about settings. (These people are called planners.) I thought I'd show you four digital sketches for ideas to set the 12 blocks into a rectangular quilt.

This quilt is 68 x 84"
The setting strips finish to 4"
There is an inner border of 2" to finish out the stars.
The blue outer border finishes to 6"

The first one is the Star Set from Jean Stanclift's version we did a few years ago, which we called Chords of Memory.

Yardage required for Star Set:
Cornerstone stars: 3/4 yard. Jean used a medium blue.
Sashing Strips & Inner Border: 1-1/4 yards. Above it is a dark blue.
Outer Border: 2-1/4 yards similar dark blue. Jean used two different prints but if you want to use all the same for sash and borders buy 3-1/2 yards.

The second set is the Geese Set, which Becky Brown has finished.
She used a scrapbag of fat quarters of darks, lights and pinks. Here the sashing strips finish to 3" wide (3" x 12"). Right now the top's finishing 48" wide by 63" long.



Number 3 we are calling the Spiky Set, which Becky's working on right now. The tall triangle strips finish to 4" x 12" and at this point the top is 52" x 68".
Again the triangles are a scrapbag of dark prints and light plains. We used a variety of close Bella Solids whites and ivories from Moda for the light triangles.


We picked out about every other one from Fig Tree Cream to Together Tan.


And you may just want to use plain sashing, with or without cornerstones. The basic structure here: Sashing finishing to 4" with a 6" border, 
The finished quilt: 64" x 80".

Yardage required for Plain Sashing:
Cornerstones: 1/2 yard
Sashing Strips: 1-1/2 yards
Border: 1-7/8 yards if you piece the strips.
2 yards if you cut strips the long way.

Cutting:
Cornerstones: Cut 20 squares 4-1/2" x 4-1/2"
Sashing Strips: Cut 31 strips 4-1/2" x 12-1/2".
Border: Cut 2 strips 6-1/2" x 68-1/2 for the sides.
            Cut 2 strips 6-1/2" x 64-1/2" for the top and bottom.

We'll get instructions for the more complex sets together in the next few weeks so you can start piecing triangles if you want to.

Saturday, January 25, 2014

Threads of Memory 1: Portsmouth Star for Ona Judge Staines

Threads of Memory
Block 1: Portsmouth Star
by Becky Brown
The first block in the 2104 block-of-the-month here at Civil War quilts is Portsmouth Star, a new block with an old-fashioned look, named for Portsmouth, New Hampshire. The coastal town was a place of refuge for Ona Judge Staines and uncounted other African-Americans looking for liberty. The townspeople, as John Whipple informed George Washington in 1796, were “in favor of universal freedom.”

Threads of Memory
Block 1: Portsmouth Star
by Jean Stanclift

The patterns were free online for two years but now I am offering them for sale in two formats
at my Etsy shop. Buy a PDF or a Paper Pattern through the mail here:

On June 1st, 1796, a ship named the Nancy sailed into Portsmouth harbor near what is now the New Hampshire/Maine border. An African-American girl named Ona Marie Judge made her way from the ship to the town. Just fifteen, the runaway slave hoped to pass as a free black in Portsmouth's small African-American community.

Ona's new life collapsed one day that summer when she passed an old acquaintance on the street. Elizabeth Langdon, eighteen-year-old daughter of New Hampshire's Senator, recognized the fugitive from visits to Ona's mistress's parlor. Elizabeth tried to say hello but Ona brushed by without a word, hoping the wealthy white girl would believe she'd been mistaken.

Elizabeth was confident she knew Ona and word soon reached the Virginia slave owners that their property resided in New Hampshire. Ona's master and mistress wanted her back and knew they had constitutional rights to recover the runaway. Under the 1793 Fugitive Slave Act, Portsmouth's officials were obliged to arrest Ona and hold her.

"Absconded from the household of the President
of the United States, ONEY JUDGE, a light
mulatto girl, much freckled, with very black
eyes and bushy black hair..."

Ona's master was quite familiar with the Fugitive Slave Act. As President, George Washington had signed the law. Washington pressured federal appointees to return the girl he called Oney. His correspondence, visible online at the Library of Congress, tells some of the story. 

When Ona was in her seventies she talked to two newspaper correspondents about her escape. Their articles tell the other side.

When they moved to the new capital of Philadelphia the first family brought eight slaves from their Virginia plantation. At the age of ten Ona became Martha Washington's personal maid. Oney "was handy and useful…being perfect Mistress of her needle," wrote Washington. 

The President's House in 
Philadelphia. Ona came to work here
in 1790.

She recalled that her life in the President's household posed no hardships but she wanted freedom, particularly after she learned the Washingtons planned to will her to granddaughter Elizabeth Parke Custis. Ona apparently did not care for Eliza Custis, a few years her junior. She was determined "never to be her slave."
Gilbert Stuart painted this picture of Eliza Custis the year
Ona ran away. Between Ona's opinion
and the portrait, we get an idea of Eliza's personality.

Realizing Washington's presidency would soon be over, Ona made the most of her last weeks in Philadelphia.

"Whilst they were packing up to go to Virginia, I was packing to go, I didn't know where; for I knew that if I went back to Virginia, I should never get my liberty. I had friends among the colored people of Philadelphia, had my things carried there beforehand, and left Washington's house while they were eating dinner."

Ona's escape by ship took her from Philadelphia
north to Portsmouth, New Hampshire.

Captain John Bolles or Bowles

Somehow she booked passage on the Nancy commanded by Captain John Bolles. "I never told his name till after he died, a few years since, lest they should punish him for bringing me away."

Martha Washington with a slave
By Edward Savage

Like many slave holders, the Washingtons believed outsiders stirred up discontent. Martha was of the opinion that a deranged Frenchman had seduced Ona. Joseph Whipple, the New Hampshire official charged with returning Ona, explained that the escape was Ona's idea---her "thirst for compleat freedom…had been her only motive for absconding."  An angry George Washington fussed, "I am sorry to give you, or any one else trouble on such a trifling occasion, but the ingratitude of the girl, who was brought up and treated more like a child than a Servant…."

Letter from Whipple
"I have ascertained the fact that the person mentioned is in this town."

Whipple warned the Ex-President it would be difficult to persuade Ona and just as hard to kidnap her, despite the fact that New Hampshire still sanctioned slavery. "I am informed that many Slaves from the southern states have come to Massachusetts & some to New Hampshire, either of which States they consider as an asylum; the popular opinion here in favor of universal freedom has rendered it difficult to get them back to their masters."

Washington instructed Whipple to use charm. "If she will return to her former service without obliging me to use compulsory means to effect it, her late conduct will be forgiven." Whipple should avoid violence, any measures that "would excite a mob or riot." Whipple's last letter on the topic, mailed right before Christmas 1796, announced the banns for Ona's marriage to Joseph Staines had been published. He was pessimistic he could act without causing the riot Washington hoped to avoid. 

Portsmouth Star by Becky Brown
from my Ladies's Album reproduction collection for Moda---
in shops in March.

Ona married sailor John Staines. A year passed in which she gave birth to daughter Eliza before she heard from the Washingtons again. Frustrated with Whipple's inaction, Washington sent nephew Burwell Bassett to retrieve her. Bassett tried persuasive lies, promising Ona that on her return the Washingtons would free her, something George Washington had actually dismissed as a bad example to the other slaves. Ona recalled her response to Bassett: "I am free now and choose to remain so."

 The Langdon's house, still standing,
was a decade old at the time of the plot to kidnap Ona.

Bassett returned to Portsmouth while John Staines was at sea, planning to take Ona and the baby by force. He sketched his plot to Elizabeth Langdon's father at whose home he was lodging. Senator John Langdon sent a messenger warning Ona to run. 

Senator John Langdon warned Ona of
the Washingtons' kidnap plans.

Portsmouth Star
by Dustin Cecil
in my Civil War Jubilee collection plus white.

The story's end appeared in the newspaper account fifty years later: "She went to the stable and hired a boy with a horse and carriage to carry her to [the Jack's house] in Greenland [New Hampshire] where she now resides, a distance of eight miles, and remained there until her husband returned from sea."

Washington Mourning Picture
Published by Pember & Luzarder, 1800,
 from the Library of Congress
Ona was unlikely to have mourned Washington's passing.

Washington died late in 1799. "They never troubled me any more after he was gone." Ona and her husband raised two or three children in Portsmouth. After being widowed she returned to the house of her Greenland friends, the free black family of John Jacks. In the 1840s, newspapermen found her there, poor and ill but glad to tell her tale.

Ona Judge Staines's story tells us of a network of help in the nation's early years, an Underground Railroad decades before that name or railroads of any kind appeared. Ona absconded on her own but she remained free due to the kindness of many people, among them friends in Philadelphia, ship captain John Bolles, Joseph Whipple who stubbornly refused to act in Washington's behalf, Senator Langdon who alerted her to flee and the Jacks family who took her in when she needed refuge.

What We Can Learn About the Underground Railroad from Ona Judge's Story

Officials often refused to enforce the slavery laws.

Refugees like Ona could live out in the open because authorities did not enforce the laws. New Hampshire was a slave state in the 1790s and her owner had all the clout one could wish for, but officials like Whipple chose not to act. Others like Langdon surreptitiously assisted her. We can only guess their motives, but Whipple suggested that "popular opinion" in the town threatened civil disorder if Ona was arrested.


You can find much more about Ona Judge Staines’s life by reading several primary documents online. 

Read two interviews by clicking on this link to a site about the President’s House in Philadelphia.

Read correspondence between George Washington and Joseph Whipple concerning Ona by clicking on this link to the website of the Weeks Public Library in Greenland, New Hampshire.

See three of Whipple’s letters by going to the Library of Congress website American Memory.
Type Joseph Whipple in the search box at the top right. When the results appear, click on the three letters in the George Washington Papers collection near the top of the first page (letters 2, 3 and 4).

Read more about Ona Judge Staines at these sites:



Portsmouth Star
Dustin's All-Ticking Version
This is real ticking---not a printed quilt-weight fabric.

Options
Make A Quilt A Month


Set nine Portsmouth Star blocks together with a 3" border to create a 42" quilt. 
Alternate 5 blocks with one background and 4 with another for variety.

Another Option

You could rotate those smaller half-square triangles
to create a layered look but it would require set-in seams (Y seams)  in each corner.

Calm down; you can do it.

Saturday, January 18, 2014

Quilting Party Like It's 1862

Phila L Brown
Scituate, Rhode Island
1862

I keep a file of quilts with the dates inscribed. 
The list for the first full year of the Civil War
1862 is fairly short.

Amity Powers
North Scituate RI
1862

Betsy Walker
North Scituate
1862

Betsy Woodmansee
Scituate RI
1862

I have photos of four blocks from this Rhode Island top from an online auction. It's set with white
sashing.

A few more quilts date-inscribed 1862:
Signature quilt from the Iowa State Historical Society

Same pattern. This one from an online auction
was made in Ulster County, New York.





The International Quilt Study Center and Museum
has three with that date including this hexagon friendship 
quilt possibly from Cheshire, Massachusetts.
#1997_007_0240

See the whole quilt here:



And a Pennsylvania quilt here:


A four-block set from the Carlson collection made by Permelia Ann Watkins in Miami County, Ohio.
http://cdn.firespring.com/images/17ac707e-7e3d-4291-8235-765017cf8feb.jpg

Applique sampler from the Wortendyke Family
See details here:

And a version of the Rose of Sharon
signed by Hannah Custer and Nancy Lehman
(possibly Pennsylvania sisters)

I have 16 quilts inscribed 1861 in the file and only 8 from 1862.
We would have to guess that war was disruptive to everyday
life in many ways.