Quilts, Gravestones, and Elusive Ancestors

It's Almost Spring--Flowers!

2012-02-22T20:25:00.000-05:00

Last Friday a friend and I went to the New Jersey Flower & Garden Show where we saw beautifully landscaped gardens and prize-winning flowers. There were ten Movie Classics-themed gardens, competitions, and lots of vendors. It was a nice "pick-me-up" for this time of year. I once made a quilt, Whispering Woods, featuring appliqued wildflowers and lots of pink and purple fabrics. And, I treasure two large floral applique pictures that my mother made--Violets and Black-eyed Susans.

This Cyclamen was a blue-ribbon winner. It was absolutely gorgeous!

"Gone With the Wind" landscape.

Lots of cotton! Can you imagine creating all these cotton plants?

"Spy Pollinators Out the Rear Window" featured a lovely garden of spring-flowering bulbs.

This one is "Polar Expression: A North Pole Garden" with primroses and hyacinths. And lots of polyfil for snow.

A section of the "Willy Wonka" landscape with a pond.

I made Whispering Woods specifically for Dreamscapes: The Patterned Imagery of Quilts, Works of 9 New Jersey Fiber Artists in 1989. I wanted to focus on the four wildflower blocks instead of the center of the quilt.

This one is Rose Mallow. My own challenge was to use at least one plaid and one decorator fabric to see if I could make them work together. The plaid fabric frames the floral applique and the curved decorator fabric surrounds the block.

My daughter and I like to go on walks and hikes in search of wildflowers. A sweet little flower, Hepatica.

This one is Purple Trillium found in Wilmington, NY.

My all-time favorite wildflower, Lady's-Slipper. Seen in the Adirondacks.

My mother appliqued "Black-eyed Susans" for her sister, Midge.

And "Violets" for her sister, Leila. Note the little lace rosette with a velvet bow.

Appliqued Heart Blocks and a Heart-shaped Gravestone

2012-02-14T17:14:00.003-05:00

I realized I had quite a few photographs of quilts containing appliqued heart blocks so thought I'd post them for Valentine's Day. Also, there's a gravestone in the shape of a heart at a local cemetery with no information other than a last name.

The 4th block down on the left is my favorite in this c. 1857 Applique Sampler Quilt. It has naturalistic leaves and four-hearts in the center. The quilt is owned by the Historical Society of the Plainfields.

Here is a detail.

This is my version of that block which I turned into a small wall hanging. I named it Tulip, Sassafras and Maple. I literally picked the maple leaf off a tree to use as a template. 1994-1996.

There are two heart blocks in this 1864 Bride's Album quilt in the collection of the Newark Museum.

Detail. Top row third from left.

Detail 5th block down on left, Hearts and Crossed Sassafras Leaves.

Rhinehart Album Quilt, dated 1852, Newark Museum. This is a huge quilt (121 blocks) and I was only close enough to photograph the blocks at my end of the table.

This block displays an assortment of symbols including the familiar heart-in-hand. "Mr. E. Rigby" in cross stitch.

There are three heart blocks in this quilt top which is in the collection of the Montclair Historical Society.

Oak Leaf and Reel with Hearts.

Double Hearts with signature "E. Duncan" in cross stitch.

Four-heart center with hearts in corners. Initials "M C S" in cross-stitch.

I'm calling these "musical hearts." This quilt was shown at one of the Mid-Atlantic Quilt Study Group meetings last summer.

Here are four simple hearts in a lovely Turkey red print. Note the block just above it that has a heart within a heart. This quilt was made c. 1850 in Mannahawkin, Monmouth, NJ, and is owned by one of my quilting friends. Isn't she lucky?

I've always liked this crude heart-shaped gravestone with its inlaid stones at the Whippany Burial Ground. In the 1930 census there is a Thomas Daven, 54, widowed, living on Troy Hills Road, Hanover Twp. I wonder if this is his gravestone.

My Great Grandmother "Odie"

2012-02-01T19:48:00.002-05:00

My maternal great-grandmother, Henrietta Friederike Wesler Strubbe was born in Bremen, Germany in 1861. She emigrated to the United States in 1876 and married Heinrich Wilhelm Strubbe in 1881 in NYC. They had five children, three lived to adulthood. The Strubbe plot is in Hoboken Cemetery in North Bergen, NJ. I've only been to this cemetery once but am about to go again. Last year a distant cousin contacted me after she found my "Another Davis Family Tree" on RootsWeb. We shared our Strubbe stories and photos and now we are finally going to meet each other for the first time. Where? At the cemetery, of course. She wants to give me a photograph of my William that she's had for 30 years. I can't wait!

I created a photo book for my brother's birthday and put this picture of Odie on the cover.

Henrietta and her mother, Juliane Johanne Dietzmann Wesler.

Henrietta made this cross stitch sampler when she was twelve years old. It is signed and dated 'Henrietta Wesler 1873.'

My gr-grandparents ran the Kroger & Strubbe eating house in lower Manhattan from about 1884-1890. Henrietta did all the cooking. I believe that's William on the left with their daughter, Lilly, who actually died of meningitis at the age of 3-1/2 in 1885.

William with his daughter (my grandmother), Elizabeth Henrietta Louise. Family lore is that Etta wanted to try out for the Follies but her father would not hear of it. Hmm......

My gr-grandmother spent hours sitting in her rocking chair crocheting. Among the many items that she made were tablecloths for each of her granddaughters when they got married.

After my father died, I actually found Odie's afghan tucked inside his hide-a-bed sofa. What a surprise!

And here I am sitting on the afghan with my Aunt Midge--many years ago:-)

Fabric Diary

2012-01-18T11:48:00.002-05:00

Some of my fabric scraps I throw into a wicker laundry basket and others I have "catalogued" by decade and stored in ziplocs. Sounds crazy, I know. So when I decided to make a quilt to celebrate the Millennium in 2000, I thought it would be a great way to use some of the fabrics in my collection. It took me seven months to make Fabric Diary.

In 1999, I had repaired a quilt for a friend and really liked the design. I was so inspired that I decided to make a quilt that featured rows of 25-patch blocks with fabrics from different decades. The sashing is Millennium fabric which I purchased and the strips in the border are scraps from a quilt that I made for my daughter in 1995.

The earliest fabrics are in the top row. They are ones that were given to me by a friend of my grandmother's when I was a sophomore in high school. Alice worked in the fabric department at Macy's in NYC and one day she dropped off a big box of samples because she knew I liked to sew. Now these fabrics are considered VINTAGE :) Oh, my!

These '70s fabrics seem to multiply. I still have some, just in case.

The last block in the lower right has reproduction conversational prints and Millennium fabrics from my dear friend, Natalie Hart. We used to swap fabrics.

I'd been saving orphan blocks and rejects from other projects and decided to put them all together for the back of the quilt. It really is a conglomeration. Note the hanging sleeve at the bottom of the back. I sent the quilt out to be quilted and it was returned to me with the back on upside down.

I made this block at a workshop years ago. I never could figure out what to do with it.

And, here's a row of Album blocks that were totally rejected for another project.

There are fabrics in this quilt that will always remind me of the days when I was the family seamstress: a blouse or two I made for my mother; dresses, skirts, and tops for me, and coordinated outfits for my daughter.

18th c. Ledger-style Gravestones and Epitaphs

2012-01-05T14:11:00.002-05:00

The Hanover Presbyterian Church Burial Ground in E. Hanover, NJ, has some very interesting ledger-style gravestones dating to the late 1700s. Each is set on its own base and each contains an interesting epitaph.

In Memory of

Mrs. Katharine Eckley

who, by a sudden Accident

died August ye 18th A.D. 1772.

Anno AEtat 46.

To this sad Shrine the Reliques we commend,

Of once the tender Mother, Wife & Friend,

Too soon, alas those tender Tyes were broke,

Friends, Husband, Children, felt ye fatal Stroke:

Yet cease fond Grief--no murmring Sigh arise,

Heav'n struck ye Blow--and Heav'n is just & wise.

Think dying Passenger: Life's final Date

Steals on thee, heedless of impending Fate,

While Pleasure courts thee with her smiling Charms

Prepare to meet thy God--the Tomb alarms:

Man cometh forth like a flower and is cut down.

Job. 14. 2.

The incised signature in the lower right corner of the stone is that of Ebenezer Price, a prominent carver from Elizabethtown, NJ.

Next to Katherine lies her husband, Thomas Eckley, Esq., and their daughter, Susannah who died in 1791. Katherine and Thomas had emigrated from London to East Hanover by 1767.

In Memory of
Thomas Eckley Esqr
who departed this life
the 15th July 1793
AE 72
We shall not all sleep
We shall all be changed
Then shall be brought to
pass the saying that is written
Death is swallowed up in Victory.

Reverend Jacob Green was the pastor of the church from 1746 to 1796.

Under this stone are deposited the

remains of the Rev,d

Jacob Green A. M.

First Pastor of this Church; who

died May 24th 1790 Aged 68 Years

of which 44 were Spent in the

Gospel Ministry in this Place.

He was a man

Of temper even, firm and resolute;

Of affections temperate, steady,

And benevolent;

Of genius solid, inquisitive

And penetrating;

Of industry, active and unwearied;

Of learning, various and accurate;

Of manners, simple and reserved;

Of piety, humble, enlightened,

Fervent, eminent.

As a preacher he was

instructive, plain, searching,

Practical;

As a pastor, watchful

Laborious: ever intent

On some plan for the

Glory of God & the

Salvation of his flock.

And by the divine blessing

Happily & eminently

Successful.

Captain Robert Troup gained a reputation during King George's War in the 1740s and later during the French and Indian War.

Here lies Interr'd the Body

of Capt Robert Troup

Who died Dec'br 28, 1760

aged 60 Years

Tho Boreas Blast & Neptunes Waves

Have cast me to & fro,

Yet in spite of all by Gods Decree

I anchor here below.

Where I do here at anchor ride

With many of our Fleet

Yet once again I must set sail

My Admiral Christ to meet.

The Rev'd

Mr. John Pierson

died Aug. 23d 1770

AEtat 81

Who was a Minister of the

Gospel about 57 Years.

He was an eminent Divine

An excellent Casuist;

A Faithful searching Preacher,

A devout steadfast christian,

An undaunted Reprover,

A peculiar Oeconomist,

Stern in his Behaviour,

Yet benevolent & kind.

He past the meny Scenes of Life,

Without a Blemish in his Character.

The Memory of the Just is Blessed.

Abigail Green was born c. 1750, married Hezekiah Broadwell when she was about 19 years old, and died at the age of 31.

Her gravestone has floral and tree motifs as well as a soul effigy with folded wings in the shape of a heart.

Here lie's ye Body of Abi

gail Broadwell, Wife of

Hezekiah Broadwell

who departed this Life

July ye 18th A.D. 1781

Anno AEtat 31 & 4 Mon's.

Love to her God her Friends her Country shon

In her, who lies entombed beneath this stone

Go passenger like her your utmost try

To live to some good end for you must die.

At some point I hope to do another blog or two showing more early gravestones in this cemetery.

A Christmas Quilt, A Gravestone, and an Elusive Ancestor

2011-12-22T10:27:00.001-05:00

As Christmas is almost here I thought it would be fun to feature one of each: a quilt, a gravestone, and an elusive ancestor. In 1979 I made a Christmas quilt inspired by a Christmas card that I received. For years, I've been placing greens on the graves of my parents, grandparents, and other relatives, and my featured elusive ancestor is my 3rd great grandmother, Clarissa Vermont Miller.

In 1979 I received a "quilty-looking" Christmas card and immediately went to work making a quilt based on its design. Appropriately, I named my quilt A Christmas Card. Many of the fabrics I purchased at a local fabric outlet, especially the Ely and Walker prints that I used for the fruits, birds, and leaves. When it came time to put the first green and white border on, I miscalculated the measurement. So after sewing it all together I had to then take it all apart and re-cut some of the triangles or widen the seam allowance where necessary. I quilted around the motifs and in diagonal rows in all the blocks, 1/4" inside the seams of the triangles, scallops in the red borders, and hearts in the solid white borders. The quilt is shown here in 1980 at the American Field Service Quilt Show in Allendale, NJ, where it won Best in Show. The same year it won 1st place at the Quilt Show in West Orange, NJ. I consider this quilt "my applique masterpiece." At Christmas time I put it on the bed or drape it over the settle bench in the hallway.

For years, my aunt Midge and I would make our annual trip to the cemetery where our relatives are buried and place bouquets of greenery in front of all the graves. We'd also put a grave blanket in between her husband's grave and my parents' as they are buried next to each other. Now that my aunt is no longer with us, I am the one to continue this tradition. It's a feel-good thing to do during the holiday season.

My elusive ancestor is my 3rd great-grandmother, Clarissa Vermont/Vermount Miller. My great-aunt Leila once told me Clarissa was "lost at sea going back to France" to visit family. Interestingly, census records indicate Clara was born c. 1809 in NY, not France. She married Abraham Miller of West Farms, Westchester, NY, about 1827 and they had the following children: Edward, James, Clarissa, Abraham, Aaron, Ellen, Charlotte, Amelia, Caroline, Maria (my gr-gr-grandmother), and Mary Elizabeth. Abraham died between 1870 and 1880 as Clara, 72, was enumerated in 1880 living with her son Aaron in Brooklyn, NY. If she made this doomed voyage to France my guess is it had to have been after June 9, 1880, the date she was enumerated. I hope someday to find out what really happened to her but, in the meantime, she will remain one of my elusive ancestors.

Morgan's Farm and Museum

2011-12-20T09:08:00.000-05:00

The last house I visited on the Essex County Historic House tour was Morgan's Farm and Museum in Cedar Grove, NJ. In 1985 it was the last operating farm in Cedar Grove and is listed in the New Jersey and National Registers of Historic Places because of its agricultural history. The 14-acre site consists of open fields, a garden, a well-house, barns, ski-tow shed, Canfield Cemetery, and the Canfield-Morgan House which was built c. 1845.

The Morgans sold their vegetables and fruits from their front porch.

A typical traditional farmhouse with French windows in the front parlor.

A bedroom on the second floor with a small silk quilt.

A small desk with a lovely scrapbook in the corner of the bedroom.

Patterns, thread, laces, and a mesh bag are displayed on a small table in the same bedroom.

Also in the bedroom is this early sewing machine on a table in front of the window.

Vintage hats and books at the top of the staircase. Other rooms on the second floor are used for exhibits and office space.

Thanks for coming on this tour of Essex County NJ's historic houses with me. Hope you enjoyed it!

Force Homestead & Museum

2011-12-17T19:36:00.001-05:00

The Force Homestead & Museum in Livingston, NJ, was also part of Essex County's Historic House Tour last weekend. Built in 1745, it is named for the Force family who lived in the house in the early 1800s. There is a fireplace in every room and an exhibit of wedding gowns on the second floor that are on loan from the Edison Foundation.

In 1777 Samuel Force purchased the house for his son, Thomas, who operated a sawmill across the street.

This room has a lovely calimanco bedcover.

Unfortunately, I missed the story about the spread on this bed--I was chatting with a longtime friend :)

Here is a close-up of the little dress you see in the corner of the bedroom in the previous picture.

The museum room houses this display of wedding gowns dating from abt. 1790 to 1944.

Livingston's Bicentennial quilt hangs in the stairwell of the Force Home between the first and second floor. It is currently covered with a layer of vinyl to protect it from sunlight.

This is the block of the Force Home that I made for the quilt. It's in the lower right corner. You can see the vinyl in this picture.

I'll be posting photos of the Canfield-Morgan House & Museum in Cedar Grove, NJ, soon!

Grover Cleveland Birthplace

2011-12-11T16:51:00.003-05:00

One of the houses on the Essex County NJ's Historic House Tour this weekend was the birthplace of Grover Cleveland, the 22nd & 24th President of the United States. Four rooms on the first floor were open to the public: kitchen, rear parlor, birthroom, and exhibit gallery.

When the house was built in 1832 it served as the Parsonage for the First Presbyterian Church in Caldwell, NJ. Grover Cleveland's father, Reverend Richard Falley Cleveland, was the minister of this church from 1834-1841. The house is a designated State Historic Site and is the leading repository of Cleveland artifacts and political memorabilia. It has been maintained as a museum since 1913.

Grover Cleveland was delivered by a local midwife in this room on March 18, 1837.

The quaint kitchen with its original wood floors was used for cooking, weekly baths, and children's parties. The cast iron pot by the fireplace had been used by Grover Cleveland's mother, Ann.

This 1850 sampler was made by Grover Cleveland's cousin, Anna P. Cleveland when she was 7 years old. It is displayed in the Rear Parlor.

Glass cases in the Exhibit Gallery contain Cleveland memorabilia from 1884 when he was elected President.

Memorabilia from his re-election in 1892.

An avid fisherman, Grover Cleveland often traveled to the Adirondacks in upstate New York. In 1886 the President passed through the small town of Ausable Forks, NY, stopping at The Graves Mansion on his way to Paul Smith's, one of the great 19th century Adirondack hotels.

Grover Cleveland is buried in Princeton, NJ.

A Colonial Christmas at The Jacobus Vanderveer House

2011-12-02T21:19:00.001-05:00

Today a couple of friends and I went to A Colonial Christmas at The Jacobus Vanderveer House in Bedminster, NJ. This lovely Dutch house was built c. 1772 and c. 1813. During the Revolutionary War it was used by General Henry Knox who established a military encampment and training center on a nearby hillside.

This is the front of the house with its original windows.

Visitors were greeted by candle luminaries that were suspended from the tree in the driveway.

The main bedroom featured blue and white bedhangings with a fringed canopy. A pinecone garland decorated the mantel.

All the holiday decor was inspired by nature using materials found on the property and in nearby orchards. The mantel in the dining room was covered with dried leaves--and dates.

Here is a date tree centerpiece on the table.

I was in awe of the apple garlands decorating the staircase. The apples were strung with jute.

I can't imagine how heavy these garlands were to work with but they sure are beautiful.

The Federal Room fireplace was decorated with garlands of dried fruits.

Here's a close-up. There were raisins, cranberries, chestnuts, apricots and--you guessed it--more dates.

Driving home on one of New Jersey's country roads, we found these Osage Oranges and Bittersweet. We gathered a bunch and when I got home I promptly put them in a wooden bowl for a holiday decoration in our house which was built in 1730.

Patchwork from Folk Art to Fine Art

2011-11-21T20:31:00.000-05:00

There's still time to see the "Patchwork from Folk Art to Fine Art" exhibit at the Newark Museum through December 31st, but if you can't make it, here are some of the masterpiece quilts in this exhibit.

It was a real treat to see two quilts which the museum purchased from Florence Peto in 1948--Red and White Bride's Quilt and Centennial Quilt.

Delectable Mountains, c. 1840-1860, maker unknown, NJ.

Princess Feather and Rising Sun, ca. 1840. Made by Mrs. Catherine Fitzgerald and her sister, Newark, NJ.

Here's a detail.

Appliqued princess feather motifs in red and pink printed calico.

Red and White Bride's Quilt or Album Quilt, 1840-1850, maker unknown, Maryland or Delaware.This is one of the quilts the museum purchased from Florence Peto in 1948. It was a blue ribbon winner at the Connecticut Valley Historical Society exhibition in Springfield, MA, in 1946.

The elaborate quilting designs follow the outline of the appliques in addition to feathers, shells, fans, and diamonds.

A meandering vine with sawtooth borders.

Centennial Quilt, 1876, PA. The museum also purchased this quilt from Florence Peto in 1948.

The large center square is printed "The Memorial Hall, Art Gallery."

There is a wonderful assortment of Centennial prints.

This Chintz Applique quilt was made in NJ ca. 1830-1840. The center features a "classical trophy of arms, surrounded by a floral wreath in reds, blues and yellows."

The appliques are edged with a button-hole stitch. Straight-line quilting in the borders and diagonal lines elsewhere.

Hexagonal Patch quilt top, 1792-1803. Made by mother and daughter, Catherine and Susan Springer, New Castle, DE.

Each patch was basted to a piece of newspaper and then all were sewn together with tiny stitches.

This striking Medallion silk quilt was made in 1855 by Mrs. C. S. Conover, NYC, for her grandson.

It was created from expensive silks, satins, and other fabrics. The quilt is in pristine condition.

Celebration of Quilts 2011

2011-11-13T13:08:00.001-05:00

One of the nicest quilt shows in NJ is the one sponsored by Brownstone Quilters Guild, an active group that for years has held both daytime and evening meetings on a monthly basis. This year's show, Celebration of Quilts 2011, was held Friday and Saturday at Northern Highland Regional High School in Allendale, NJ.

I love the historical-themed quilts that are being made by Jill Reid, Susan McDermott, and Barb Vedder. See some of their quilts below.

Renaissance was a blue ribbon winner in the Group or Duet Bed Quilt category. It was quilted by Barbara Khan.

This small wall quilt, Floral Charm, was made by Pauline Wilson. All the floral squares were appliqued--not pieced--to a white background.

Susan McDermott's quilt, Lincoln Blogs, won a red ribbon in the Large Wall Quilt Pieced category.

And Barb Vedder's, Remembering Abe, won a blue ribbon in the same category. Be sure to check out her blog, "Fun With Barb."

Jill Reid's quilt, With Malice Toward None, was also in the Large Wall Quilt Pieced category.

A wonderful Log Cabin quilt.

Here's a detail. I love the 4-patch in the center of each block.

And here is Barb Vedder's, Mother's Garden, a loving tribute to her mother.

The Statue of Liberty's 125th Anniversary

2011-11-04T13:10:00.004-04:00

Not that baseball and quilts have much in common, but this year marks the 125th anniversary of the dedication of the Statue of Liberty and both my gr-grandfather and I witnessed this celebration--only one hundred years apart. In 1886 he was playing baseball looking out over NY harbor while Lady Liberty was being assembled; and, in 1986 I was making a quilt to celebrate the Statue of Liberty's 100th birthday. Somehow I feel there's a bond--a family connection.

On April 29, 1886, fans attending the opening day of the National League at the St. George Cricket Grounds on Staten Island, NY, watched the game between the NY Metropolitans and Brooklyn. My gr-grandfather, Frank Hankinson, 3rd baseman for the Mets, scored one of the team's home runs even though they lost 4-3. He played professional baseball for 10 years--four of them with the Metropolitans 1885-1887 and 1889. He is 2nd from the right in the back row.

One hundred years later, the Great American Quilt Contest and Festival in honor of the Statue of Liberty Centennial was underway. The pre-registration deadline for the contest was June 14, 1985. Quilts had to be an original design and were to be judged on the "basis of originality, execution of theme, craftsmanship, needlework and overall appearance." It had to measure 72" x 72" and be "crafted from colorfast fabric." It must be hand-quilted--no machine quilting or tying allowed.

It took me a long time to come up with a design but I finally settled on this one.

My quilt Freedom Needs No Words was chosen as a finalist in the NJ competition. The 11-pointed star represents the base of the Statue of Liberty with the seven points of Lady Liberty's crown radiating from the center.

The immigrant child represents hope and freedom, and the border--strength.

I quilted the torch in the center section. If you look real close you can see fingers wrapped around the base.

And in the top border I quilted, "Give me your tired, your poor, your huddled masses..."

In 1986, Seton Hall University in South Orange, NJ, had an exhibit, "In Celebration of Freedom." On the left is Rita Erickson's quilt, Patriotic Pyrotechnics, my quilt, Freedom Needs No Words, and on the right is Beverly Komoda's quilt, Liberty's Centennial. Some of the quilts that were in this exhibit were purchased by the Port Authority of New York and New Jersey, including mine.

The PA had the quilts mounted onto large wooden frames and hung them in one of their buildings where they were displayed for more than 10 years. Then in 1997 when the PA decided to deaccession their huge art collection, the quilts went on the auction block--and Rita Erickson and I both bought back our quilts! When I got home I decided to throw my quilt in the washing machine and dryer knowing there was a good chance it could totally disintegrate--but it didn't. It was absolutely fine!

Quilts My Mother Made

2011-10-26T15:07:00.000-04:00

My mother Etta Bower Davis (1910-1964) would have been 101 years old tomorrow, October 27th. So to honor her birthday, and in her memory, I've posted a few of the quilts she made.

This picture was taken in 1935 when she became engaged to my dad.

In 1936 she made this unbacked Yo Yo quilt. The Heritage Quilt Project of NJ included it in their book New Jersey Quilts 1777-1950.

The 16-patch yo-yo blocks are sashed with white yo-yos.

Years ago, I made some repairs. Can you tell which yo-yo is mine? It's the only one that isn't a small-scale print.

My mother made at least two or three quilt tops before she turned to making quilts from kits. The first one was called "Early American" by Paragon Needlecraft, #01108.

It took her three years to make.

Here's her signature and the dates when she started and finished the quilt.

The second quilt she made was "American Eagle" by Paragon #01128. It was a wedding gift for my brother.

This quilt is made up of only two colors--gold and white.

Mom was really good about signing and dating her quilts.

The last quilt she made was "Garden Bouquet." It was designed by Florence Peto and offered by Paragon Needlecraft. I've often wondered if my mother knew of Florence Peto as we lived in a neighboring town. This quilt is in The Heritage Quilt Project of NJ's newly published book, A Passion for Quilts:The Story of Florence Peto. Photograph by Peter Jacobs Fine Arts Imaging.

This block closely resembles one in the original Baltimore Album Quilt which Florence Peto owned at one time. My mother worked on this quilt from 1960-1964 and I quilted it after she died.

This "Horn of Plenty" pillow kit was also offered as a Paragon kit. My mother had completed the applique but I quilted it and gave it to my aunt one year for Christmas.

In addition to making quilts, my mother created applique pictures depicting different family members. Here is one that she made of her and my dad "at home." I just love this one. It is framed and hangs in one of our bedrooms.

1860s NJ Quilts on Display

2011-10-20T12:15:00.001-04:00

The current exhibit at the Newark Museum, "Patchwork from Folk Art to Fine Art," has some wonderful quilts that were made in New Jersey during the 1860s.

This Bride's Album Quilt was made in 1864 by Mary Nevins Potter and others in Pottersville, NJ. Garden State Quilters of Chatham, NJ, provided the funding for the conservation of this quilt. I've been a member of this guild for more than twenty-five years.

The stencil in the center of this applique block contains the name 'Emma Flomerfelt.' Emma was one of ten children of Zaccheus and Elizabeth Flomerfelt of Bridgewater, NJ, and was fourteen years old when this quilt was made.

Flower Basket Quilt made in 1864 by Rachel Kingsland Oakes and Abigail Baldwin Oakes of Bloomfield, NJ. Each block is signed by a member of the Oakes family or by friends and neighbors. Abigail was Rachel's daughter-in-law having married Rachel's son, David, about 1830. David built his own textile factory which, during the Civil War, produced materials for military uniforms for the Union Army. In 1989 The Heritage Quilt Project of NJ held a Quilt Discovery Day at the Oakeside Bloomfield Cultural Center which once was the Oakes family home.

The Hurley Family Album Quilt was made in 1867 by members of the Hurley Family of Wall, NJ.

The center block contains the names of all the Hurley children.

This block has an inscription "Mrs. John Morris."

Here's a detail.

Star of LeMoyne made in 1860 by Maria Washington Layfield Miller of Newark, NJ. Maria was the mother of a local Episcopal minister.

The Great Newark Quilt Turning

2011-10-14T13:20:00.000-04:00

It was a wonderful treat to see thirty-two quilts up-close and personal at the Newark Museum's "The Great Newark Quilt Turning" on September 27th. Four stations--each with eight quilts--were set up in the main area of the museum and those of us who had signed up for the event were directed to start at one of the stations. Five full minutes were spent on each quilt and then it was time to move on. I was particularly interested in quilts with a known NJ provenance.

This c. 1800 Orange Peel quilt was descended in the family of Phebe and Isaac Nichols of Newark, NJ.

Here's a detail.

A c. 1815-1825 Star of Bethlehem top only. Perth Amboy, NJ.

A broderie perse bird.

A wonderful pillar print quilt 1825-35.

A total surprise! Check out this fabric on the back of the quilt.

An 1830-40 Chimney Sweep quilt with signatures.

Inscribed Willy H. Eddy.

An 1862 Flower Basket quilt made in New Vernon, NJ.

Rinehart Album quilt, 1852. Made by members of the First Presbyterian Church in Elizabeth Port.

There are 121 blocks in this quilt. This one is inscribed William R. Price.

Red and White Album Quilt, 1840-50. Made by the Ladies Aid Society, Salem Baptist Church, Salem, NJ.

Here's a detail.

I'm looking forward to going back to the Newark Museum tomorrow to attend the screening of the documentary film "Stitched" by Jena Moreno.

American Quilt Study Group and HQPNJ

2011-10-01T10:04:00.001-04:00

The American Quilt Study Group Seminar was held in Cherry Hill, NJ, September 21-26. Rachel Cochran and I represented The Heritage Quilt Project of NJ by exhibiting a couple of Rachel's quilts at the Welcome Icebreaker, presenting a study center on the Characteristics of New Jersey Quilts, and leading a roundtable discussion, A New Look at Florence Peto.

Rachel and her Presidents Medallion and Manahawkin Signature Quilt drew lots of attention.

Bowmansville Star, another quilt in the Icebreaker Exhibit.

A beautiful Baltimore Album quilt from the Arlan and Pat Christ Collection.

Here's a detail.

An interesting quilt at Sharon Waddell's NY Quilts study center. There's even an appliqued red elephant.

New Jersey Quilts Study Center on the scrolling list of events.

There were 40 people in our study center. Madge Ziegler is showing the group a NJ quilt.

At the end we "wowed" everyone with a c. 1840 quilt that we borrowed from the Montclair Historical Society.

Our new book was so popular we sold over 100 copies at the seminar.

This short story was written by Florence Peto in 1920. We included a copy of it in a packet that we handed out to everyone who was at our roundtable discussion.

A while ago, I started making this reproduction of Florence Peto's quilt, Where Liberty Dwells. I guess it's time to start quilting!

Here's Julie Silber auctioning off a copy of New Jersey Quilts, the book Rachel and I co-authored with Natalie Hart and Rita Erickson in 1992.

The Oak Leaf and Reel table decorations were made by quilting friends, Jill Reid, Susan McDermott, and Barb Vedder.

Everyone attending the seminar received a small organdy pouch with 4 pieces of fabric and at the closing luncheon I won the jar of "preserves" in the center of the table. : )

The Rocky Mountain Quilt Museum and Andover Fabrics have collaborated to reproduce this original John Hewson fabric in their Winterthur John Hewson line. Check it out!

A Passion for Quilts: The Story of Florence Peto

2011-09-20T16:54:00.003-04:00

I am very pleased to announce that The Heritage Quilt Project of New Jersey has just published its second book A Passion for Quilts: The Story of Florence Peto which I co-authored with Natalie Hart, Rita Erickson, and Rachel Cochran. In addition, we are very lucky to have a foreword by Virginia Avery and contributions by Cuesta Benberry, Bets Ramsey, and Merikay Waldvogel. Our first book, New Jersey Quilts 1777-1950: Contributions to an American Tradition, was published in 1992.

Florence Peto was a quilt collector, quilt historian, and quiltmaker. The quilts she collected and those she made were of such high quality that they became significant parts of museum collections. Florence's enthusiasm for life, thirst for knowledge, and love of quilts led her on a path she might not have expected as a young woman at the end of the nineteenth century. Through books, magazines, lectures, and exhibits, she shared the stories she found in quilts and created a legacy that endures from the twentieth century into the twenty-first century.

The book is 174 pages with more than 150 illustrations, including family photos and previously unpublished quilts. If you'd like to order a copy, send a check payable to The Heritage Quilt Project of New Jersey in the amount of $32.95 plus $5.00 for shipping and handling to: The Heritage Quilt Project of New Jersey, P.O. Box 341, Livingston, NJ 07039. Or you can go to our website http://www.newjerseyquilts.org/ and order using PayPal.

September 11th and "Pride In America" Quilt

2011-09-11T11:30:00.003-04:00

Memories of events following 9-11-2001 are recorded in my photo albums. Some pages follow.

On September 23, 2001 my husband and I went to the "Remembrance & Reflections" ceremony at Liberty State Park. No backpacks, coolers, duffle bags or other packages were allowed. A rose was handed to everyone at the end of the ceremony upon exiting the park.

On December 3rd my daughter and I took the commuter ferry from Liberty State Park in NJ to Battery Park in NY. It was a beautiful warm day with temps in the 70s. Who ever heard of flowers blooming in December--in NY? There they were--Black-eyed Susans--to me a sign of hope : ) The photo at the bottom is of a make-shift memorial of stuffed animals.

From the time my son called on the day of the attack about "an explosion" at the World Trade Center to thoughts of making plans to evacuate our house, if necessary, much happened between 2001 and 2002.

The Anthrax scare and emails that circulated about Osama Bin Laden. Photos from Eagle Rock Reservation, West Orange, NJ.

The "Pride in America" quilt I assembled from blocks made by members of the Recreation Majors Club at Montclair State University. The project was initiated by my husband who was teaching at MSU.

A detail of several blocks made by students.

The page in my album of the front, back, and label of "Pride in America."

A visit to the 9-11 memorial at Eagle Rock Reservation in 2003.

2003 Healing Field in Livingston, NJ.

3,412 American Flags--one for every person who was killed in 2001.

In August 2004 there was another terror threat and the entrance to the Prudential complex behind our house was barricaded.

The 9-11 monuments in Highlands, NJ, 2006.

One of the monuments, Highlands, NJ.

The 9-11 memorial Livingston, NJ.

Description of the sundial.

There will be a ceremony here tonight at 7 p.m. I'll be there.

Urns, Drapes, and Doves

2011-08-31T13:00:00.003-04:00

Urns, drapes and doves seem to have captured my fancy. From an early NJ quilt containing a block with an inscribed name and drawing of an urn, to a mourning picture in memory of a child's death, to photographs of gravestones that I've taken through the years, I've often wondered about the impact gravestone art has on other art forms. Two needlework examples follow.

This wonderful pen and ink drawing appears in a Wild Goose Chase Variation quilt that was made in Mullica Hill, NJ between 1843-1847. Photo courtesy The Heritage Quilt Project of New Jersey.

A mourning picture in the collection of the Montclair Historical Society at the Israel Crane House. See my post of the quilt exhibit there this summer. The picture is painted and embroidered with what appears to be silk thread.

The gravestone inscription is on three tiers. Top tier in the cartouche are the letters C.A.L. The second tier: In Memory of /Charlotte Augusta Lynde/Born May 15, 1817--Died/April 11, 1824. Aged 7 years. Lower tier: Sleep innocent beloved! thy days of peril o'er/Thy God awaits thee, on a happier shore--/Where free from pain, you'll join the choir above/In our Redeemer's praise, and sing immortal love.

The Bertholf plot at the Hanover Cemetery in E. Hanover, NJ, has two gravestones with urns on top.

Abram C. Bertholf/Died April 11, 1880/Aged 71 Years/True and Faithful

E. Eliza Kitchell/wife of/Abram C. Bertholf/Died Sept. 4, 1876/Aged 70 years

Another gravestone with an urn in the Hanover Cemetery. James S. Barron/Born Feb. 14, 1825/Died April 26, 1905/Ann M. Hopping/wife of/James S. Barron/Born Jan. 25, 1825/Died March 25, 1873.

Ellis and Isabel Cook's gravestone at the First Presbyterian Church of Hanover.

Sacred/to the memory of/Ellis Cook/a captain in the Revolutionary Army/who died A.D. 1832/and of/Isabel Cook/his wife/who died A.D. 1825/Erected by their descendants/A.D. 1860.

William and Maria Halsey's monument in the family plot at the First Presbyterian Church of Hanover.

The double-urn gravestone of Epaphras Cook Ely (1795-1864) and his wife Julia Ann Kitchell (1800-1864). Ely Cemetery, Livingston, NJ.

This huge monument is at Mount Pleasant Cemetery, Newark, NJ. Jesse Baldwin/Born/August 2, 1803/Died December 28, 1881-----Phebe Ann Burnet/His Wife/Born June 1810/Died April 13, 1894/Blessed are the dead which die in the Lord.

Even my gr-gr-grandparents have an impressive urn-style monument in Green-Wood Cemetery, Brooklyn, NY.

Buried in the Hankinson plot are my gr-gr-grandparents John and Alice Hankinson; four of their children who died very young; my gr-grandfather, Frank Hankinson and another relative, Walter Hankinson.

A fancy drape on Hetty Reeve Parsil's gravestone. Parsil Family Cemetery, Short Hills, NJ.

Eunice Sharp's gravestone. Northfield Baptist Cemetery, Livingston, NJ.

Nelson Sharp, Eunice's husband. Their gravestones are mounted on a large base.

One of my favorite gravestones is this one with a drape and dove at the top. It's located at Northfield Baptist Cemetery, Livingston, NJ.

Here's another but with two doves that are nearly life-like. Had to look twice! Pleasant View Cemetery, Wilmington, NY.

Friends Forever

2011-08-17T10:16:00.001-04:00

In 1985 I was at the American Quilter's Society first annual quilt show in Paducah, KY, where I took a class given by Elly Sienkiewicz, author of Baltimore Beauties and Beyond. She taught various techniques for making new Baltimore album-style quilts and suggested using fabrics that were large-scale, allover prints which were certainly different from what I was used to working with--thus the challenge! When I decided to make a quilt using her techniques, I purchased an assortment of large-scale fabrics at the Great American Quilt Festival in NYC that I thought might work for the four blocks in the center. The border blocks were adapted from an antique quilt Cut-Paper Cockscomb that I saw in American Quilts and How to Make Them by Carter Houck and Myron Miller. But I didn't want these border blocks to be empty so I copied verses from autograph books--my grandmother's, my mother's, mine, and my daughter's--I had all four.

Four generations of autograph books.

Friends Forever took two years to make. It is hand-pieced, hand-appliqued and hand-quilted.

The block for my grandmother, Ethel Strubbe Bower.

From my grandfather, Stanton M. Bower, to his future bride, Ethel Strubbe, in 1905.

The block I inscribed with the same verse.

The block for my mother, Etta Bower Davis.

To my mother, Etta Bower, from her friend Anna Beatty, June 23, 1922.

The block I inscribed with the same verse.

The block with my name, Barbara Davis Schaffer.

From my good friend, Marilyn Dittmore, a twin.

The verse I inscribed from Marilyn.

The block for my daughter, Connie Schaffer.

To Connie from her friend, Beth Modell.

The block I inscribed with Beth's verse.

The back of the quilt with a block that just didn't work on the front.

What I love most of all is the page in my autograph book written and illustrated by my grandfather, Stanton M. Bower in 1955.

It Only Took 32 Years . . .

2011-08-06T21:36:00.004-04:00

When I first saw the "Geometric" quilt in the 1979 Quilt Engagement Calendar, I knew I had to make one just like it. The only problem was there were no reproduction fabrics available in the late 1970s so I just used scraps that I had on hand. But if I made that same quilt today I would be matching each and every fabric to the original. I started the quilt in 1979 and finished it just the other day but there were MANY years in between where it sat in a closet. Finally, in March of this year I had the urge to take it out and finish it. I had a free weekend to devote to re-basting and start quilting again. It took 4 months to quilt and another few weeks to get the binding sewn on. This quilt is pieced entirely by hand and is hand-quilted--it's 85" x 92", queen size.

With these bright colors, it has a very different look and feel compared to the original which was dated c. 1870.

A hundred years from now quilt historians will have a lot of fun looking at all these fabrics!

A detail of the corner where the rows come together.

This is the back of the quilt. Don't you love the color combination--red, blue, and pink??

And here is the mock-up of the back that I did on graph paper a long time ago.

A close-up of the center of the star on the back.

When I had finished sewing on a label, I threw the quilt in the washing machine and dryer and, yes it was dirty from all those years of just "sitting." But I'm encouraged. There's still hope I will someday finish my other UFOs.

Quilts at the Crane House

2011-07-29T20:11:00.000-04:00

The Montclair Historical Society's Pieces of History: Our Collection of Quilts was on display at the Israel Crane House in Montclair, NJ, through July 15th. Some of the quilts were draped over chairs while others were on beds and in cradles. One exceptionally large quilt was hanging over the banister on the second floor.

A lovely Star of Bethlehem quilt with chintz cut-outs and diamond border.

Trees, birds, and flowers were cut from chintz fabric and appliqued--a technique called "broderie perse."

This is the wonderful Sampler Quilt hanging over the banister. Many of the blocks were signed and dated 1844.

A Prussian blue striped fabric as the sashing and a "broderie perse" block with cut-out flowers.

A Feathered Star quilt made in the 1840s by Maria Searing, wife of Israel Crane.

All white spaces have different quilting designs.

A simple quilt with eight-pointed stars and alternate set blocks.

Might have to look for a pillar print like this one.

Here Are My Correct Ancestors...

2011-07-25T21:24:00.005-04:00

There's much to be said about taking someone else's research without double-checking the facts. Such was the case when I wrote the names of "who I thought were my ancestors" on my Ancestry quilt only to discover they were not. I'll be adding a label to the back of my quilt that will include the correct names of my 3rd and 4th gr-grandparents. Here is the paternal side of my family tree:-)

Quilt block for my father, Franklin Ralph Davis.

My dad and mom, Franklin Ralph Davis and Etta Florence Bower.

Quilt block for my grandfather, Ralph Butler Davis.

Ralph Butler Davis was born 27 Jun 1882 and died 23 Nov 1971. He married Maude Hankinson.

My grandmother, Maude Hankinson Davis, is the daughter of Frank Hankinson and Mary Purple. She was born 1 Aug 1884 and died 16 Feb 1967.

Ralph and Maude are buried in George Washington Memorial Park, Paramus, NJ.

Quilt block for my gr-grandfather, Horace E. Davis.

My gr-grandparents, Margaret Anne Edwards and Horace E. Davis.

Horace and Margaret are buried in the Methodist Cemetery, Livingston Manor, NY. Horace was b. 3 Feb 1837 and died 3 Nov 1924. Note there is no death year on the gravestone. He served in the Civil War with the 2d NY Mounted Rifles and was discharged for disability. Margaret is the daughter of John Edwards and Catherine Wood. She was born 22 Jun 1844 and died 25 Jan 1917.

Quilt block for my gr-gr-grandfather Henry Wooden Davis.

Henry Wooden Davis is the son of Jacobus Davis and Nancy Wooden. He was born 6 Nov 1800 in Wawarsing, Ulster, NY and died 22 Dec 1874. He is buried next to his wife, Eunice Fisk, in the Methodist Cemetery in Livingston Manor, NY.

Gravestone of my gr-gr-grandmother, Eunice Fisk Davis, daughter of William Fisk and Hannah Martin. Eunice was born 7 Oct 1802 and died 12 Aug 1844 at the age of 42.

My 3rd gr-grandparents are Jacobus Davis and Nancy Wooden. He was baptized 15 Dec 1777 and died August 1852. She was born about 1782 and died after 1860. They are buried "somewhere" in Brighton, Livingston, MI.

My 4th gr-grandparents are William Davis and Maria Kittle. William was born between 1752-1756 in NJ. I believe he is the son of Jacobus Davis and Elizabeth Keator but I have not been able to prove the connection. Maria was born 17 Jan 1756, daughter of Jan Kittle and Sarah Kortright of Rochester, Ulster, NY. William and Maria were married August 1774 in the Wawarsing Reformed Dutch Church. The record of their marriage is written in Dutch.

Translation: William Davis, young man, born in New Jersey, with Maria Kittle, young woman, born at Wawarsing and both residing there.

Oops! Wrong Ancestors. . .

2011-07-12T12:47:00.010-04:00

For years I thought I was a descendant of Kit Davis, the progenitor of many Davises with roots in Ulster County, NY. My information came from a distant relative's DAR application and a letter she wrote to my dad in 1935. I even made an Ancestry quilt in 1976 based on the information Muriel provided never giving it a second thought. Was she ever wrong--and was I ever surprised! Four years ago all that changed when DNA testing proved my Davis line goes back to William Davis and Maria Kittle of Wawarsing, Ulster, NY.

Ancestry quilt photographed in 1977 hanging on the side of our garage.

Kit Davis was born about 1616 in England and emigrated to America in 1658. He is not my ancestor.

David Davis was a son of Kit Davis and his first wife, Cornelia DeVos. David was killed by Indians in 1690 in Schenectady, NY. He is not my ancestor.

Isaac Davis was a son of Kit Davis and his second wife, Maria Martensen. He was born about 1661 in Marbletown, Ulster, NY, and died about 1712. He is not my ancestor.

Samuel Davis was a son of Isaac Davis and Jannetje Maurits. He was baptized in Kingston, Ulster, NY, 17 Mar 1706. He is not my ancestor.

Jacobus Samuel Davis was a son of Samuel Davis and Elsje Robertson. His will was proved 18 May 1826 in Kingston, Ulster, NY. He is not my ancestor.

Jacobus Davis was a son of Jacobus Samuel Davis and Elizabeth Bosch. He was baptized 28 Feb 1779 in Kingston, Ulster, NY. He is not my ancestor, either. BUT....and this is where my distant relative made her mistake in our family line....there was also a Jacobus Davis who was baptized 10 Dec 1777 in Wawarsing, Ulster, NY, and he IS my ancestor. To be continued...

A Lovely Ohio Stars Quilt

2011-06-30T09:16:00.002-04:00

When the Infinite Variety Red and White Quilt Exhibit was at the Armory in NYC in March, this lovely quilt was on display at the American Folk Art Museum near Lincoln Center.

A close-up of the center.

A corner detail.

A star block with floral print center.

Interesting black and white print fabric in the corners of the blocks.

The Last Few "Pages" . . .

2011-06-28T08:14:00.002-04:00

Continued from my previous posts, here are the last few pages of my fabric book.

My portrait and last page.

Another photo transfer where I added my photo to a vintage outfit.

The last page, "more . . ." meaning there's more on the back cover.

The back cover. Buttons from my collection and a handmade silk ribbon-embroidered moire envelope for treasured photos.

Treasured family photos with fabric frames.

After I completed my fabric book, I made a separate embroidered fabric pouch where I keep my high school ring, charm bracelet, and a bracelet my brother gave me when he returned from military service.

I enjoyed the challenge of learning new techniques to create "Pages" and had good intentions of making another fabric book but never did.

Still More "Pages" . . .

2011-06-27T21:21:00.000-04:00

When I was halfway through my fabric book, I was anxious to keep on going.

For my children: It's a Boy! and It's a Girl!

Using a rubber stamp and Carter's Micropore stamp pad, I stamped "It's a Boy" in between the blue dots and a floral design around the edges.

I smocked a 7" x 18" piece of batiste and embroidered a flower. The loose threads from each row were twisted together to form the initials CJS. "It's a Girl" was written on a piece of grosgrain ribbon.

Our Living Room and Aerobic Dancing.

I used the same turpentine and spoon method I described earlier to transfer a xeroxed copy of a photograph of our living room onto fabric. Images like this one transfer in reverse.

Wonder Under was the solution to fuse pieces cut from a t-shirt to plain fabric.

Barb's quilts and New Jersey Quilts book cover.

I chose forty-two pieces of fabric representing the quilts I had made and cut them into 1" x 2-1/2" strips. The fabrics were arranged in three rows of fourteen each separated by tape sashing.

Jean Ray Laury's book, Imagery on Fabric became my Bible for many of the techniques I used in transferring images to fabric. One of the more complicated processes was transferring a color image like the cover of the book I co-authored, New Jersey Quilts 1777-1950 but it was well worth the effort.

More "Pages" . . .

2011-06-26T09:46:00.000-04:00

Continued from my previous post "When I Was 50" . . . my fabric book has a total of 18 pages. I chose important events in my life and used various techniques to create the pages.

Poem and kindergarten handprint.

The poem my grandfather wrote and illustrated when I was born. I xeroxed the original and placed the copy on several layers of drawing paper on a hard surface and taped the corners to prevent shifting. White fabric was placed on top of the drawing paper with corners taped. I traced the letters with a Pigma Pen and filled in the fancy letters using dots, dashes, etc.

I pushed modeling clay into the original clay handprint that I made in kindergarten. When the "new" clay hand was removed, I touched up the edges and/or fingers that needed repair and placed it on a piece of drawing paper. Using a cosmetic sponge, stencil paint was dabbed over the entire hand. Fabric was laid on top of the paint and carefully finger-pressed to ensure a good print. The fabric was removed and when it was dry, I placed the original clay handprint on top of my new print, drew around the circular edge with a Rub-a-Dub laundry marker and then wrote in my name and date.

Mother's Day card and Girl Scout badges.

Fabric crayons and heat transfer worked well to re-create the Mother's Day card I made when I was seven years old.

Girl Scout badges were sewed on and my membership card was photo transferred.

High school yearbook and wedding gown.

A rubbing of the cover of my high school yearbook.

I took an 8" square of my wedding gown lace and painted it with acrylic paint thinned with water. This I placed face down on a piece of fabric and finger-pressed. I traced the figure from the original Vogue pattern, cut it out and fused it to the "new" lace fabric. The entire block was covered with organdy. The wedding gown was outlined with metallic thread. The bouquet was hand-embroidered. Still more to come . . .

When I Was 50 . . . .

2011-06-24T18:12:00.000-04:00

. . . .I was a college student majoring in Studio Art and one of the courses I took was Surface Design. I was faced with the decision of what to make for my "project." Since I had turned 50 I wanted to do something special for myself and the idea of "Pages" came to mind. I selected events that were highlights of my life. This is the cover. I incorporated pieces of my wedding gown lace and peau de soie, added trims and buttons from my collection, used denim from my kids' blue jeans to make mountains, sewed on a bit of wool fabric from my dad's sport jacket, tacked on tatting made by my grandmother, and fused tear-drop shaped lavender flowers cut from fabric that I used to make a blouse for my mom when I was in high school. Yes, I had saved all these things!

"Pages" on the left and footprints on the right.

I transferred xerox copies of flower images onto fabric using Judith Baker Montano's (author of the Art of Silk Ribbon Embroidery) method of laying the photocopy down on the fabric and rubbing the back of the image with a cotton ball soaked in turpentine. Once the paper became translucent, it was time to rub the back of the image with the back of a spoon making sure to cover the entire area. Lift and voila!

I ironed freezer paper to the back of plain fabric, put it in my typewriter and typed the "document." Using a Pigma Pen, I drew the lines, and wrote in the details--date, time, my parents' names, etc. I created footprints by making thousands of tiny dots with the tip of my pen. More to come . . . .