Even if you have a loyal cadre of readers, sometimes blogging feels like dropping pennies into a deep, dark well. “Hello?!” you call out. “Anybody there?!”
In the spring, as some of you know, after a quick trip to Charleston, South Carolina, I posted some images from the Textile Wing at the Charleston Museum, including the quilt by Mary Alma Parker pictured above. My sewing readers voiced their appreciation. Plop! The penny dropped down. And, that was that — or so I thought.
Turns out, that was not it. Last month Mary Alma Parker’s daughter, Clare Butler, emailed me. Not only had she had found my post (really?! by what miracle?), but she had read it to her mother and my appreciative words ‘really made her mother’s day’! How cool is that?!
Ms. Butler and I exchanged a couple of emails, and she has given me permission to tell you more about her mother and her mother’s quilting.
First, find better pictures of “Memphis Blues” in the Charleston Museum’s flickr set.
I was taken with the quilt’s exuberant use of prints, its lovely colors, and the playful departures from traditional patterning. Based on those three aesthetic traits, as well as the title, “Memphis Blues”, I speculated that the maker was African American. I could find nothing online to contradict that assumption. Well, I was wrong.
Mary Alma Parker was born and raised in Memphis and has lived in Charleston with her husband (a Charleston native) for the last 25 years. Her daughter told me that her mother was “very influenced by African-American design aesthetics and artistic composition from her early years and throughout her life”. Mrs. Parker took my incorrect assumption about her origins “as a compliment”.
Her daughter also wrote this: “She chose to use the paper template hexagons as her motif on Memphis Blues because many quilters viewed them as crafty and trite”. She wanted a familiar visual motif so that the “focus could be on the randomness of her composition, color, and pattern choices”. That certainly worked!
I also learned that Mrs. Parker never used a machine for anything and that she belonged to a quilting group in Charleston where they “focused on learning a variety of techniques”. It was in that group where she discovered a love of the applique method. Mrs. Parker went on to make a completely original Baltimore album quilt, as well as a one featuring collard greens, called “State Vegetable”.
Like many quilters, Mrs. Parker was a recycler before recycling was a thing. Her daughter wrote: “I now recognize her as one of the thriftiest recyclers of just about everything — way before it was popular as it is today. You’ll notice the circles used as the quilting pattern on Memphis Blues in the borders — those are tracing of cans of food from her pantry. She always used cans as pattern weights when she sewed all of our clothes when my sister and I were growing up, so it is logical that she would use them as patterns for her quilting stitch designs too”.
Clare has promised me pictures of the Baltimore album quilt, and if she finds them, I shall be sure to post them.
P.S. Mary Alma Parker was also a collector of unusual vintage quilts and many of those in the permanent collection in the Charleston Museum were her finds. Here are two links and some text her daughter emailed me:
One in particular that you may recall seeing in the museum is the cigarette silks quilt. A partial picture and description can be seen on this page: http://www.charlestonmuseum.org/early-20th-century-quilts. Cigarette silks were one of the first premiums marketed to influence sales of a product in the US and targeted the growing leisure class of women interested in crafting. Here is a brief explanation of the trend: http://www.geocities.ws/nimue_139/history.html
Very cool Dee! Dropping pennies into a well indeed. So glad they found you and you found them.
me, too! it was especially nice to think that my appreciation and bothering to post my appreciation got back to the quilt’s maker and pleased her so much!
I had the pleasure and honor of knowing Mary Alma and being in the Salt Marsh quilt group in Charleston with her. She was a very special woman. Always a smile and a laugh that I can still hear. She was very knowledgeable and talented as a quilter and a friend. She will be greatly missed.
now that is what I would call a penny well spent:-)
smiled at the mention of how the circles came about
thank you for this post and the ones before on your trip to the Charleston museum, chances are I am not likely to visit any time soon (any time whatever)
I forget about weights… if I didn’t have to pin a pattern down, I might be more inclined to make something to wear now and then!
It’s very painterly, I like. (not a quilter, but aspiring tapestry weaver)
Painterly is a good description… the blending of colors and the skillful play across the surface.
Keep dropping pennies!!!!! Never heard of cigarette silks…clever marketing….wish they would do something like that with mailing stamps or beer or wine 😉
That nine patch on the website was great too!
Hi Karen… that nine patch was really nice, I agree — liked the cross-shaped sashing in between the nine patches…
Gorgeous quilt! I love quilts that are different from all the other ones … this definitely is! I feel like I could look at it forever. Would love to see the Baltimore Album.
And I know what you mean about dropping pennies in a well! The nice thing is that posts live on, and people can find them any time …
This is so cool! I love the quilt…it uses the traditional pattern in such a contemporary way…and I love the connection that was formed between you and Mrs. Palmer. Deeply satisfying.
Great great story. The internet IS working!!! 🙂 🙂