QUILTS & FABRIC: PAST & PRESENT


Sunday, June 14, 2026

Flag Day

 

June 14th has been celebrated as Flag Day for about 125 years, recalling the date in 1777 when the rebellious colonies adopted the American ensign. 

WPA poster 1939

Elizabeth Holmes, 1869, Illinois. Detail: Lincoln/Flag quilt

About 1860
Following tradition, altered flags express opinion. 

The flag is a great graphic, easily recognizable and composed of pattern that translates while keeping its identity.

One reason the image works so well in the needlework of resistance
that we see today in our troubled times.

Crafty Badger

Social Justice Sewing Academy

"Veer" by Jacquie Gering

Joan Evans




Flags given to Utah politicians

Liz Havartine
?



Shawn Quinlan

Necessary Switch

PineappleKid8

csweb56


About 1865
Jeff Bridgman Antiques



American Revolutionary Samuel Adams wrote in the Boston Gazette:


The patriot's purpose is to "keep the attention of his fellow citizens awake to their grievances, and not suffer them to be at rest, till the causes of their just complaints are removed."

Wednesday, June 10, 2026

Daughters of Liberty Anniversary Quilt

 

Daughters of Liberty

Looking for a traditional patchwork design for a quilt to celebrate our 250th next month? I'll remind you again that Americans really were not stitching patchwork quilts in 1776 but here's a design to represent later decades when the United States was working out its democratic ideals after the Revolution.

The roads that led to revolt against England's rule ran throughout the colonies but Boston claims a leadership role, particularly with the local organization the Sons of Liberty, a secret and not so secret society of philosophers and activists. (Just who threw that English tea into the harbor?)

Exemplary rebels

The Sons of Liberty encouraged a trade boycott of British goods including the largest category of  textiles, wool, linen and silk. In 1768 the rebels organized a boycott encouraging colonists to cultivate their own flax for linen and sheep for wool and learn to spin and weave a domestic cloth, activities Britain had discouraged in their desire to make the colonies customers rather than competition. Women responded to the men's call by organizing "spinning bees" where two or three dozen spinners worked together teaching each other techniques and producing yarn for domestic cloth.

From a Boston broadside published about 1770

Women also countered with their own organization The Daughters of Liberty in 1770. Similar goals and methods of operation included domestic production but also street activism and campaigns against merchants who ignored their demands. Mobs of men and women intimidated loyalist shop owners and warehouse keepers.

Broadsides, the influential social media of the day,
could be printed quickly and cheaply and posted on the streets.

Abigail Smith Adams wrote husband John about the "rout and noise in the town for several weeks" culminating in a mob of about 100 females who broke into a coffee warehouse and confiscated the beans as "a large concourse of men stood amazed silent spectators."

Massachusetts Historical Society Collection
Abigail Smith Adams (1744-1818) 
By Benjamin Blythe, mid-1760s 

Shops and warehouses that imported foodstuffs like molasses and salt as well as those vending cloth were frequent targets of the Daughters of Liberty who amazed their co-revolutionaries with bold and boisterous protests on Boston's streets.


"Boston Streets" is the name of the central patchwork pattern here, adapted from one published in 1936 in the Chicago Tribune's quilt column headed by the fictional Nancy Cabot with her prestigious Boston penname.

"Nancy" often made up stories out of whole cloth
like this one about an unlikely Boston quiltmaker before the Revolution.
The pattern is slightly familiar but the repeat is obtuse.

The sketch looks quite un-pieceable but adding seams to make the design just squares and HSTs (Half-Square Triangles) makes it easier to piece if not a historically accurate choice to represent those brazen  Daughters of  Liberty. The patchwork center has been fit into a format borrowed from the Copp Quilt in the Smithsonian's collection.

National Museum of American History Collection
Copp Family Framed Center Quilt
https://www.si.edu/object/1790-1810-copp-familys-framed-center-pieced-quilt%3Anmah_556289

The museum was given a large collection of textiles and furniture in the 1890s by John Brenton Copp of Stonington, Connecticut including this quilt estimated to date from the early 19th century. Fabrics of linen, silk and cotton were probably scraps and yardage from the inventory of the family textile businesses. The Copps were from Connecticut but Boston's streets do include a Copp's Hill.

The geometry here is based on units finishing to 4" square. 

Pattern for Daughters of Liberty
The Central Patchwork Field


You can look at the central field of patchwork as a grid of 9 blocks, each a five-patch,
a grid of 25.

Modified Boston Streets five-patch block
Drawn in EQ8
Basic unit finishes to 4" square
Print the pattern out on an 8-1/2" x 11" sheet.


Fabrics---see the Copp quilt with its varieties of browns, pinks and blues.



Or the heck with authenticity!
It's a party. Make it red, white & blue!


Another option for a loosely historical repro quilt for the 250th.

And one from our Dutch history:

Wednesday, June 3, 2026

Laura Wheeler/Alice Brooks & Ada Cone



Newspaper quilt patterns of the 1930s were abundant with a few large syndicated companies dominating the field. Patterns appearing under the pen names Laura Wheeler and Alice Brooks were probably the most numerous. The source and the people involved have been rather mysterious as newspaper copy did not give much information on a company, designers or copywriters.

A few of my pattern collecting friends have, shall we say, opinions as to the
mindset of these fictional seamstresses. Just a bit sadistic in the promise of
"easy piecing" with twelve seams meeting in the center, for example.



Representative fictional artist
You do get the feeling that the artist in many cases had never pieced a quilt in his/her life.

 Wilene Smith, however, has devoted many years of serious study to figuring out the writers and artists behind the series. Her work is available on the Quilt Index at this link:




The 1940 census found Ada at 22 living with her parents Robert & Ada Cone and four brothers on Sinclair Avenue on Staten Island. The family seems to be in the grocery business. Her occupational listing may say "Not Working" or "New Worker".


Helen Dudnik in Staunton, Virginia News Leader, June 7, 1945
(Note that the columnist’s actual name Ada L. Cone is not included.)

“Knits and purls, chains and slip stitches lazy dasies (sic) and french knots. They’re all easy when you know how. And women who don’t ask Laura Wheeler, the knit crochet, and embroider genius. An average of ten million women each year write to Laura Wheeler for instructions for knitting that baby bonnet they saw in yesterday’s newspaper. She receives more mail than some of our top-ranking Betty Grables or Lana Turners.

Recently Laura Wheeler received a letter from a grandmother who wanted her to know that within a comparatively short period of time she had ordered seventy-two patchwork quilt patterns---all created by Miss Wheeler. Grandma, as she signed herself, went on to say that she was making twelve quilts for each of her twelve granddaughters and that soon she could present the gifts to ‘her girls’ whom she knew would be delighted with them.

Laura Wheeler’s name is known to millions of newspaper readers. She is discussed by countless women everyday---over back fences, notions counters and scores of other places where women and girls congregate. In 1933 Laura Wheeler decided to close her own art studio and become the pioneer needlecraft designer in the field. When she started with George Goldsmith, his Reader Mail organization was fast becoming America’s leading newspaper dress pattern manufacturers.

One day she asked of Goldsmith, “Why should we produce only dress patterns? There are millions of women who like to knit, crochet, and embroider. Why can’t we manufacture needlecraft patterns for them?’


And so it was that Laura Wheeler gave birth to an idea which was to revolutionize the art of needlework. She gathered a staff of skilled artists and designers who set to work under her direction, creating original designs for transfer patterns to be embroidered on guest towels, pillow cases and doilies----patterns for many kinds of knitted garments---crochet patterns for centerpieces, fascinators, slippers or bootees.

She hired top-notch writers to describe step by step, clear and precise directions for each kind of stitch in a particular design. As many as ten artists work on a single pattern.

Says Laura Wheeler, ‘When a reader sees my release in her newspaper and sends 15 cents for my needlecraft pattern, it is my job to see that not only will she get it promptly but when the pattern does reach her she can be assured that there will be no need to stop and question the next step.’

Added Miss Wheeler, ‘Every one of my needlecraft patterns is fool proof so that even a novice will have no difficulty finishing the sweater, purse or rag dolls she started.’

She stresses the practicability of her feature. ‘I try to put myself in the position of the reader. She wants eye-appealing needlecraft patterns which can be made as inexpensively as possible and that is what I strive to give her.’

Laura Wheeler is a typical American woman. She is of medium height with black hair streaked with gray, sparkling dark eyes and an effervescent personality. Laura feels she is amply repaid for her life’s work of creating needlecraft patterns when those millions of letters come pouring into her office---letters from women all over the country asking for more patterns, letters from grateful readers telling of the joys her designs have brought them. 
When the war is over, Laura Wheeler plans to make her needlecraft pattern feature available not only in the United States, Canada and Australia but in other European countries as well."


From Ada's Findagrave files:
"Ada Cone, 83, of Oakwood, a native Staten Islander and retired fashion designer, died Friday at Merry Heart Nursing Home in Succasunna, New Jersey. Born in Prince's Bay, she moved to Oakwood in 1961. Last February, she moved to Blairstown, New Jersey. She had been a resident of the nursing home since November. A fashion designer, Ms. Cone worked for approximately twenty years with the reader-mail division of King Features Syndicate, Manhattan. She designed clothing and sewing patterns for the "Let's Sew" segment, which appeared in newspaper comic sections around the country, including the Sunday Advance. She retired in 1985. She attended Tottenville High School. She is survived by a niece and two nephews. The funeral will be held on Tuesday, with a service at 9:30 a.m. in the Casey Funeral Home, Castleton Corners. Burial will be in Moravian Cemetery, New Dorp.
Published in the Staten Island Advance on January 7, 2001."


I've done posts on several of the patterns over the years.