tag:blogger.com,1999:blog-289466493716180465.post4064208410252717857..comments2024-03-26T22:50:08.674-05:00Comments on Barbara Brackman's <br> MATERIAL CULTURE: Hannah Nicholson Grave QuiltsUnknownnoreply@blogger.comBlogger2125tag:blogger.com,1999:blog-289466493716180465.post-51998674444093244752018-05-21T20:16:19.428-05:002018-05-21T20:16:19.428-05:00I think it's amusing that the Graves and the C...I think it's amusing that the Graves and the Coffins were members of the same community...JoanneAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-289466493716180465.post-9678305920810080462018-05-21T13:01:19.850-05:002018-05-21T13:01:19.850-05:00Are there signatures on the album quilt in the Phi...Are there signatures on the album quilt in the Philadelphia Museum of Art? Why do they say that quilt was "made in Philadelphia? I'm having a clueless day, I'm afraid -- why do you ask "Did someone buy a block readymade for the album?"<br />In reading about album quilts of this period, a lot of album blocks were not made by the donor that signed the block, the donor could have asked a seamstress to make one for the occasion or turned to a friend or family member. What stands out to you about one of these blocks that you ask this question and which block is it? The two blocks using the white dahlia surrounded by two similar-sized red flowers and some foliage look to me like the appliqued fabric was cut from the same fabric but one blockmaker eliminated some of the surrounding detail to simplify the job. Or the other blockmaker added more flowers and foliage to the same central image that is in the the other block. Or do you see these blocks as composite arrangements of flowers and foliage from different chintz fabrics that happen to be very similar?Suzanne Ahttps://www.blogger.com/profile/08387297696390711279noreply@blogger.com